Rajio No Jikan (Welcome Back, Mr. McDonald, 1997)
I didn’t need the end credits to tell me that Rajio No Jikan was based on a play. The film is very closed off, barely opening up, not really bothering to stray from its studio setting until seventeen minutes into the film. Even then, the film quickly takes itself back into the studio, that’s where everything happens, that’s where all the action can be found. The theater setting, or motif, can sometimes be restrictive, stopping a natural progression in the narrative because the film is tied to its primary set. I never found that to be the case with Rajio No Jikan, its narrative belonged in that primary setting. When Kôki Mitani, the director, decided to leave that setting it may have only been for short bursts but the movie sputtered and faltered outside of its primary setting.
There’s an organized chaos on display in Rajio No Jikan, that chaos is mined for comedic gold. Well, maybe not gold, but at the very least it turns out some silver. Outside of one hilarious case of yelling by Keiko Toda, as Nokko Senbon, I didn’t laugh out loud while watching Rajio No Jikan. The humor I found in the film was of the quiet variety, by understanding the organized chaos at work I understood why what was happening on the screen was funny. There aren’t any characters who stand out in the comedy category, nor are there any bits of writing or directing that scream comedy (sans the yelling I spoke of earlier). Yet, there is comedy throughout Rajio No Jikan, and my laughter, no matter how quiet is a testament to the movie being funny.
The way in which Rajio No Jikan approached its comedy and its characters reminded me of another movie I’ve watched for the brackets, Shall We Dansu?. Rajio No Jikan operates on much the same level as Shall We Dansu? in other areas besides comedy, most notably in how it peppers some thin social messages beneath a slight story. However, what mainly made me think of Shall We Dansu? while I was watching Rajio No Jikan was how the film was an enjoyable experience without really trying for much more than that. I have time in my life for movies that don’t seek to be important, that don’t add unneeded weight to their existence. I slightly prefer the laid back style of Shall We Dansu? to the manic tendencies of Rajio No Jikan, but it’s still a very pleasant movie and an enjoyable experience.
That’s not to say that Rajio No Jikan is all lollipops and tootsie rolls. I had a hard time with a few elements in the film, specifically some moments where elements within the film became overbearing. There were a few scenes where the director pushed himself into the film, a prime example being the moment where Mr. Ushijima and his assistant Sumiko Nagai run towards each other in the hallway. That moment, and a couple of others, stood out a lot compared with the rest of the film, the aesthetic of those scenes did not match up with the aesthetic of the rest of the film. In that hallway scene there was also a swelling within the score, and that happened far too often in the film. There were moments that were supposed to be dramatically funny, and they were, but then the score would supply an on the nose bombastic swell and it just felt wrong.
As far as pleasant and enjoyable movies go I had a nice time with Rajio No Jikan. It doesn’t overstay its welcome, the performances are all amiable, and when the film was over I had a smile on my face. I’ve said it before, but leaving a movie with a smile on your face is a fine feeling. I enjoyed the intimate setting of Rajio No Jikan, and while I didn’t love the movie I liked it. Rajio No Jikan is a movie worth seeking out if you’re looking for an enjoyable movie from the Far East that is more off the beaten path.
Vs.Eno Nakano Bokuno Mura (Village Of Dreams, 1996)
I didn’t know what to expect from Eno Nakano Bokuno Mura, and the prologue threw me for even more of a loop. I went from not knowing what to expect to expecting something modern to being tossed into a childhood nostalgia story. That is where my feelings on the film reside, and I know this will be a point of contention among many fans of the film. I don’t have much negative to say about Eno Nakano Bokuno Mura, but my main problem is a pretty big one, it fits like an old shoe.
Maybe the old shoe analogy is a bad one or doesn’t make sense, in that case let me clear up what I meant. What Eno Nakano Bokuno Mura brings to the table in its childhood nostalgia is a perfectly fine story, but it’s a story I have seen many times before. I couldn’t shake that feeling as I watched Eno Nakano Bokuno Mura, I felt comfortable watching the film but I had felt that same comfort before in other films about childhood development. There were a few instances where I could sense the director, Yôichi Higashi, going for more than comfort. Neither had the impact he intended, but one was interesting and the other felt out of place.
The first break from the comfortable story that came to me was the character of Senji. He came across to me as a clear representation of old Japan, the sense of all the land belonging to him was what first led me to my interpretation. Said interpretation was cemented in my brain by the actions of the principal towards Senji. He bullies Senji around, his lectures towards Senji about school send a message that old Japan’s ways can not compete with modern Japanese intelligence. At the same time the principal blames Senji for all the little problems he, as well as the village, incur. The scene in particular where he beats Senji for making him slip on the floor shows an unhealthy rage towards old Japan. Higashi-san isn’t saying the principal is in the right, he isn’t blaming old Japan. The message he presents is an interesting one and it takes Japan’s desire to move forward and leave their past behind and shines an inquisitive light on it.
The second way in which Eno Nakano Bokuno Mura tries to move away from a zone of comfort is with its supernatural elements. Those felt out of place, specifically the three supernatural grandmother’s belonged in another movie. I searched my mind for some sort of connection to be gleaned from their presence, but none came to me. Maybe there’s something with the supernatural elements that I’m missing, but within the narrative that I experienced those elements did not belong.
I know that others, especially one person whose opinion I respect, think very highly of Eno Nakano Bokuno Mura. I’ve read some of the reviews from others where the twins represent a greater lesson about Japan, and so on. I respect those interpretations, but I didn’t see any of that when I watched Eno Nakano Bokuno Mura. In the end I found Eno Nakano Bokuno Mura to be a simple journey through childhood. The stuff with Senji added a small bit of depth to the film, but not enough for me to think of it as any more than a simple journey. The two child actors were really good, I enjoyed the time I spent with them. However, the film didn’t connect with me on a level beyond simple enjoyment, that’s not a bad thing, but that enjoyment came from a well traveled place. Eno Nakano Bokuno Mura is well worn instead of unique, and that makes a fine film, but not one I consider special.
Verdict:
As much as it will probably shock a lot of people I thought both of these films came in at around the same quality level. I know some people think Eno Nakano Bokuno Mura is a masterpiece of subtext. While I appreciate and respect their take on the film, I didn't see it the same way. I enjoyed Eno Nakano Bokuno Mura well enough, but I enjoyed Rajio No Jikan a little bit more. With the quality being the same and me not finding, or reacting to, the subtext that others love about Eno Nakano Bokuno Mura I'm left with enjoyment being the deciding factor. Rajio No Jikan moves on to the next round.