NORWEGIAN WOOD
Japan, 2010, 133 minutes. Colour.
Rinko Kikuchi, Ken’ichi Matsuyama.
Directed by Anh Hung Tran.
Norwegian Wood is based on a famous novel by Haruki Murakami, a favourite amongst university students and younger readers. It has been written for the screen with the author by the director, Vietnamese-born Anh Hung Tran. Anh Hung Tran made an impact in the 1990s with Scent of the Green Papaya as well as Cyclo.
The director did not speak Japanese and relied on translators for the making of the film – which makes the film itself quite an achievement.
The film is set in the 1960s amongst university students and the aftermath of their years of study. The film focuses on a young man who is dismayed by the suicide of his close friend. He becomes very friendly with the girlfriend of the suicide man. He also becomes involved with an older woman.
At 133 minutes, the pacing of the film is slow. It gives people an opportunity to contemplate the characters, the locations, the implications of the themes and relationships.
The title of the film comes from the Beatles’ song when the central character of the film hears it and remembers his life in the 1960s.
The central character is played by Ken’ Ichi Matsuyama, a young actor with quite a credits list. The girlfriend is played by Rinko Kikuchi, also a veteran of many films, and an Oscar nominee for her supporting role as the wayward Japanese teenager in the Tokyo section of Babel.
The film was well received by critics and at festivals. It is a demanding film in the sense that the audience is asked to contemplate, to think, to feel rather than be drawn into fast action.
1. A Japanese story? Of the 1960s? The basis in the novel? The nature of the adaptation? The Vietnamese director – living in Paris, not speaking Japanese? His empathy for the characters?
2. The adaptation, the basic elements of the plot, characters? Portraits? Glimpses? Interactions? The opening out of the novel, the visuals, nature and the seasons, beauty, ruggedness? The scenery and locations as reflecting the characters and their experiences?
3. The voice-over, the town of Watanabe? His comments, his narration of the plot, his perceptions of himself, of the other characters, of the meaning of life?
4. Japanese life twenty years after the end of World War Two? The protagonists born in the late 1940s? Their growing up in the 50s and 60s? The issues of life, meaning, relationships, sensuality and sexual, morality, suicide, death, living on, surviving in hope?
5. The introduction, the school sequence, the boys fighting, the young couple, the friendship of the three, the swimming, the billiards? The visualising of the suicide in the car?
6. The filmmaking and the long takes, the long treatment of particular sequences, then the abrupt cuts, the editing, the stopping of the music in mid-note, the use of Norwegian Wood? The range of the musical score? The meaning of the title – and Watanabe and his hearing the song?
7. Watanabe’s story, his age, nineteen, the friendship with the couple, the effect of the suicide, his going to Tokyo, living in the dormitory, his friends and their comments, his reading, the womaniser saying there was no time to read? The discussions about relationships and women? Going out with his friend, the night with the girl? His work, in the record shop, the close-up of work in the factory, his hard work? His prospects? His age, missing Naoko, her arrival and its effect, their discussions, the sexual encounter, asking about the friend’s suicide, her leaving? Whether to contact her or not? His visiting the country, their walks together, narrating her dream, the singing of Norwegian Wood? Her sexual history, her preoccupations with her frigidity? His responses? His meeting Midoro? Her life, flirting with him, her moods, her father and his death? His final love for her? Naoko, her madness? Her death? Reiko coming to visit, the sexual consolation, Watanabe in his going to the sea, his grief on the rocks? His phone call to Midoro? His self-analysis, his reflection on the past, his future? How strong a portrait?
8. Kizuki, his life, his love for Naoko, friendship with Watanabe, their time together, the billiards, his moodiness, getting in the car, setting up the pipe, the fumes, going to the back seat, the details of his suicide?
9. Naoko, the bond with Kizuki, the effect of his death? Her explanation of her frigidity with him? Her concern about her capacity for loving? Her disappearance, coming to Tokyo, the encounter with Watanabe? The long talks? Her explanation of herself? Indications of mental illness? The night with Watanabe, its effect on her? Her leaving, going to the countryside, with Reiko? Her staying in the country, Watanabe’s visit, their sharing, the walks, her discussions about herself, her sexuality and sensuality? More indications of madness? Her contact with Watanabe? Her death?
10. Midori, her place in Tokyo, the meetings with Watanabe, the on-and-off friendships, her moods? The sexuality, her father’s death, wanting to go to the pornographic movie with Watanabe? His compliance? His phone call and her joy that he loved her?
11. Hatsumi, studying to be a diplomat, his womanising, discussions with Watanabe, Watanabe’s envy? His passing his exam? The other people in the dormitory, life in the dormitory, the discussions about their life, about their relationships?
12. The focus on the young Japanese in this period? The aftermath of the war? The changes in the 60s? Japan becoming more western? The story in a later retrospect, assessing the 60s and the consequences?
