‘Drive My Car’ Review: Ryusuke Hamaguchi’s Superb Murakami Adaptation

Haruki Murakami’s brief story “Drive My Car” is a modern, streamlined slip of a factor that nonetheless, within the writer’s signature model, packs an terrible lot into its lean sentences. It’s a grief-stricken marriage story enfolded in a corrupted friendship research, associated in flip through a separate story of odd-couple companionship, all advised in fewer than 40 pages. On the face of it, one may query the knowledge of turning such a exactly labored miniature right into a three-hour film, however Japanese director Ryusuke Hamaguchi’s deft, sensible, whisper-soft adaptation of “Drive My Automotive” by no means appears like an overextension of its delicate materials. As an alternative, it pursues a sort of cinematic stillness to match Murakami’s plain, serene prose, and takes issues suitably sluggish — that is the sort of movie the place the opening credit arrive 40 minutes in — because it ponders simply how a lot time can heal all wounds.

The subtly entrancing consequence could be Hamaguchi’s most nourishing movie up to now, becoming a member of Lee Chang-dong’s latest “Burning” atop the pantheon of big-screen Murakami interpretations. The place Lee’s adaptation slashed via the textual content with sensuous objective, nonetheless, Hamaguchi takes a extra expansive, discursive tack, gently indulging his affinity for melodrama: The story already performs into his predilection for ornate character networks and overtly addressed issues of the guts. The supersized runtime is not any impediment, in the meantime, to “Drive My Automotive’s” direct, misty-eyed emotional influence.

The place the brief story buried its protagonist’s formative secrets and techniques in its middle, Hamaguchi and co-writer Takamasa Oe reorganize occasions in additional linear style, shedding some intrigue for a cumulative construct of heartbreak. Its first act — the terminology feels particularly acceptable in a movie that pivots on theatrical staging — paperwork the wedding between Tokyo-based actor and theater director Yusuke (Hidetoshi Nishijima) and screenwriter Oto (Reika Kirishima), an intimate partnership that nonetheless accommodates unstated infidelities on her half, particularly for the reason that dying of their younger daughter years earlier than. When Oto, too, dies in premature style, Yusuke retreats from life.

A minimum of his beloved automobile is a consolation and a continuing: a pink Saab 900 that cinematographer Hidetoshi Shinomiya shoots like an unique insect towards the grey, treeless geometry of town. “Drive My Automotive” understands the charged, cocooned area of a personal automobile, the place you will be directly shifting via the world and warmly remoted from it: For Yusuke, it’s the place he likes to run his traces, with solely a cassette recording of the play as his prompting accomplice.

So when, two years later, he accepts an invite to direct a multilingual manufacturing of “Uncle Vanya” at a Hiroshima theater competition, it’s no mere inconvenience when the organizers inform him that, for insurance coverage causes, he’ll have to simply accept a chauffeur somewhat than drive himself. Moderately, it’s a impolite invasion of his most non-public and inventive area. The younger employed driver, Misaki (Toko Miura), is herself introverted and soft-spoken, and guards her private historical past with an identical sorrowful wariness to his, however that’s not a commonality on which apparent friendships are constructed: Neither social gathering feels fairly free to benefit from the silence, whereas the disembodied recordings of Chekhov’s play that fill the area between them sound nearly ghostly on this context.

Outdoors the automobile and within the theater, destiny has additional methods of yanking Yusuke from his shell. One of many actors auditioning for his manufacturing is the good-looking, callow and solely reasonably proficient Takatsuki (Masaki Okada), whom Yusuke acknowledges as his late spouse’s former lover. When Yusuke confounds expectations by casting Takatsuki as Vanya somewhat than taking the function himself, it’s unclear if he’s exacting tacit revenge on the oblivious youthful man, or one way or the other overlapping their identities: As Hamaguchi irons out sure particulars of Murakami’s story, he folds in new ambiguities aplenty.

It’s the automobile that continues to be the story’s most intense, truth-telling area, as Yusuke and Misaki steadily — and Hamaguchi’s understanding of “steadily” is extra gradual than most — thaw to one another, every utilizing the opposite as a sounding board for pent-up trauma and tragedy. “Drive My Automotive” is an uncommon kind of street film, by which the open street is a loop, with the identical route traced every day, however the going one way or the other liberates the passengers anyway.

In a efficiency of unassuming magnificence, Nishijima unlocks Yusuke through minute variations in expression and supply, his just about physicalized disappointment shifting in temperature as soon as shared. The movie charts this intricate evolution towards the larger, bolder tonal progressions of the play rehearsals, the place the actors finally rail towards his choice for endlessly repeated, uninflected desk reads. No much less excellent is Miura, whose tense, gaze-dodging demeanor unfurls and relaxes as soon as behind the wheel, at the same time as Misaki tends to make use of phrases as a brusque final resort. As their characters bend and bond, her melancholy involves form and steer the movie as a lot as his.

Hamaguchi’s filmmaking, all the time achieved, reaches new heights of refinement and sensory richness right here, principally through Shinomiya’s immaculate, opaline lensing. The digicam marks high quality adjustments in gentle and air because the story progresses from Tokyo’s unyielding city surfaces to the muffling foliage and pastel mists of the Setouchi shoreline, and finally to the sharp monochrome contrasts of Japan’s snow nation — all certain by the black ribbon of street that continues to be Yusuke and Misaki’s happy-unhappy place. (The nice and cozy, boring hum of a shifting automobile, in the meantime, is the baseline of Izuta Kadoaki’s sparsely efficient sound design.) Of many stunning frames, one lingers: Yusuke and Misaki’s fingers, every holding lit cigarettes, jutting from the Saab’s open sunroof (or moonroof) because it speeds via smudged streaks of nighttime gentle, politely aside however united in fleeting calm.



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