Description: Tony is an illustrator who's been alone all his life…until he meets Eiko, a beautiful woman who transforms his life. The only problem is that Eiko is a compulsive shopper with a penchant for high end couture that leads to darkly satiric consequences.
Amazon.com: Sound and visuals are what movies are made of, yet in Tony Takitani, director Jun Ichikawa somehow communicates primarily through feeling. This is a work of profound, aching sadness, made exquisite more by what isn't heard and seen than what is, as Ichikawa brings writer Haruki Murakami's short story to the screen with a sense of restraint, apparent in every aspect of the process (storytelling, acting, music, cinematography), that transforms the usual cinematic experience into something much closer to a prolonged meditation. Issei Ogata plays the title character, son of a jazz musician who gave Tony his strange, Americanized name. Like his father, who is no more fit to be a dad than Tony is to be a son, Tony lives a life of total solitude. But solitude isn't the same as loneliness, as the middle-aged man learns when he meets and marries the much younger Eiko (Rie Miyazawa). At that point, as we're told in voice-over (a wonderfully low key performance by Hidetoshi Nishijima, who actually does more talking than the characters themselves), the newly-content Tony now is beset by feelings of terror and dread as he imagines what life would be like without her. But Eiko is no more connected to the real world than Tony, and her addiction to designer clothes ("they fill up what's missing inside me") eventually leads to tragedy. That happens in a sequence that might be amusing, in a black kind of way, in any other film, but not in this one. As it is, it triggers some rather strange behavior on Tony's part, as well as his return to a state of impenetrable, ineffable melancholy. Tony Takitani is not a warm experience. The dialogue is spare, the scenery severe, the colors muted, and Ichikawa's directing, though masterful, keeps us at arm's length. But there is greatness in this beautifully-rendered, 75-minute movie. --Sam Graham
Murakami, perfectly translated to the screen This is a stylish and spare film that does a fantastic job of bringing the Haruki Murakami short story to the screen. Ryuichi Sakamoto's equally spare piano-based soundtrack is equally evocative and well suited to help tell this melancholy tale of love and longing. I wasn't sure what to expect, but ending up loving this moving film.
Now to get Peter Jackson to shoot his version of Murakami's "Hard-Boiled Wonderland"!
A Sense Of Being Alone Permeates The Film In the film "Tony Takitani," director Jun Ichikawa gives the viewer a sense of isolation and loneliness that one does not find with too many other directors. I have not read the short story that the film is based on, but one does not need to. With a third person narrative, and a minimal use of the actors' interaction, the film makes you feel very lonely. Which I am sure is exactly what the director was aiming for. The cinematography is beautiful, and at the same time, compliments the film, as Ichikawa's use of the camera gives you a feeling of the same loneliness that the protagonist, Tony Takitani (Issey Ogata) is going through. In fact, Tony Takitani wears his loneliness on his face. And every shot of him in the film is permeated with a sense of loneliness. You can sense it, and feel it.
I really liked the beginning of the film, where we see Tony Takitani's father, (also portrayed by Ogata) lying in a prison cell. The war has just come to an end, and the isolation of being imprisoned, alone and without the contact of others, is a great introduction to the film. As it is this films opening scene that gives the viewer a prelude to what the films main protagonist feels: A sense of isolation and loneliness. The third person narrative also works well by incorporating a dialogue between the viewer and the film, where we are further removed from the films protagonist--as we sense his self-isolation from those around him. This in turn, gives the film an even greater sense of loneliness: The very sense of isolation and being cut off from others that Tony Takitani himself feels.
The film is slow paced, and is only 75 minutes long. Tony Takitani is an illustrator who has always been alone. However, he meets a woman who will change his life. And although Tony is alone most of the time, it is due to his wife that he must now travel and go out to dinner. Not to mention the shopping with her. The films narrator even relates how they have gone to Europe, where she has purchased some of her clothes. So in one sense, although we are not privy to this, we know that Tony has gone places. His wife Eiko (Rie Miyazawa) is a compulsive shopper who desires the the best in fashion. But, as in life, there will be moments of tragedy. The film while slow and quiet, was worth the purchase to me. Sometimes these kind of films are needed. However, it will not appeal to some viewers, therefore, I recommend you rent it first, as it is not a film for everyone. [Stars: 3.5]
Beautiful. . .odd. . .memorable He was lonely; she was beautiful; and, for a while, it really, really worked. The story is flawed. (But who am I to pass such judgment? This movie will be remembered.) It will be remembered (aside from the remarkable cinematography) because the viewer feels the loneliness, the temporary joy, and the loss central to this movie.
Stylistically superb but emotionally lacking There's no denying the superb visual style of this film. A lot of people will fall in love with it for that, alone.
We are shown a very lonely boy whose mother died shortly after his birth and whose father was away most of the time, who adapts to life by isolating himself. He said that he did not realize that he was lonely. Then nature intervenes and he finally falls in love with a woman who agrees to marry him. He is supremely happy, but in the back of his mind, he is afraid that one day his loneliness will return. And, sure enough, it does, maybe because of his own actions, maybe not.
That's pretty much it....lonely boy grows up to be a lonely man. If you want more than that to a plot, you'll be disappointed. It is meticulously told and one hopes for some sort of happy ending for this man, but we're not given much to bank on.
I give it four stars for the exquisite artfulness of it, but hold back because the whole thing left me feeling incomplete and empty. Maybe that was the point---to leave us feeling as empty as the characters were. If so, the film succeeded. Enjoyable? Naw!
Maybe it's not love but the opportunity of love I don't understand the reviews for this movie. I didn't read the book but I didn't get the same impression from this film as any others. I'm not sure if I am more disappointed in the story because I don't agree with the perspective or because I don't agree with the interpretation of other viewers. I did laugh at Rie Miyazawa's last scene when she didn't even want free latex gloves. That was great. Hopeful. I certainly enjoyed her scenes. But I wanted to see this movie shot again and retold. I understand that this movie is the way it is intentionally but it seems that the deep analyses of this film are not all that deep. Is there a hidden message in this film because the background is war-based and this film embodies and is about and practices circumvented emotion? Is this film actually a litmus test?
Anything Goes Trivia
Last Kiss
Megaton Man
Trevor
