Kurosawa’s latest work comes in the form of Bright Future, and it is a stunning piece of work to say the least. It simply personifies the feeling of a the disaffected youth in Japan and their attitudes towards their suggested responsibilities by their elders. During a time when Japan was hit by an intense economic downturn, many male adults ended up living with their parents. Respect and courtesy were two things these young adults hated to express to their elders, blaming them for the life of monotony they led.
This film hits home in many respects, with some beautiful expressions and metaphors of the failures and aspirations that people have. Although the film is set in Japan, it’s tale, it’s reality can be applied the world over and works as a fair representation of the intensity with which the youth have become separated from the values of their elders and the those before them. The ironic use of Che Guevra stamped across the T-shirts of a bunch of teens who are lost and trying to find their way is both poignant in its symbolism as well as an honest message about those who are unable to find their way.
For many this film will simply bore, as it is slow and very methodical in its approach. This film is rooted in reality, rather than Kurosawa’s mainstay of the supernatural. People work, they hate their jobs, and they try to live in resentment. Those that are rich treat those below them differently, and the repercussions are felt throughout. The jellyfish have an incredible significance in many, many ways – provide a metaphorical representation of the youth of today. The dialogue is quite beautiful at times, and really provides some depth to what is happening on screen.
The plot itself is rather simple. Two youths, Nimura and Arita, hate the life they lead, with little respect for the world outside. When one of them inexplicably murders their boss and his wife, after quitting the factory, he is sentenced to death. His only prized possession is his red jellyfish – one of the most lethal varieties, capable of killing on contact. Nimura’s bond with Arita is that of an intense brotherly one, and thus he is given the responsibility of looking after the jellyfish; however after it’s accidentally thrown into the Tokyo sewer system insanity ensues and a journey begins which would reunite the father of the sentenced, and Nimura creating a new friendship and bond which contrasts with the clash of culture between the young and old.
Like Doppleganger, Kurosawa uses split screen to convey the distance and separation that the youths feel from their elders. It’s a brilliant technique and provides and instant message, rather than replying purely on the acting. Not to say the acting is poor, far from it. The two youths are wonderful in their performances as rebellious, down trodden individuals feeling that the world is against them and has little to offer.
The father of the accused is also excellent, and befriends Nimura. All the performances are really excellent, and kept me engaged in watching the film through. There were many instances where I didn’t quite understand where things were heading, but equally there were many points which I felt were so true it was frightening. In the end, the loose ends are carefully and brilliantly tied up.
Bright Future is a rather ironic title, considering the subject of the film. It is not a horror film, but a drama. The horror of the film is the reality with which it is filmed. Several cameras and techniques are used which perfectly capture the feeling of distance and isolation. It’s a clever choice by Kurosawa and only adds to the haunting feeling of what is taking place. There are so many significant references to the youth of Japan that are perfectly applicable to the youth where anyone lives that it sends a shiver down your spine.
I think Kyoshi Kurosawa is perhaps the only director where you are required to watch a film twice, and can do so without boredom or monotony. You will always find something new, something significant about a twist that makes the whole thing fit better than it did before. Even if I understood his films the first time, it’s pleasure to watch it again, particularly when introducing the film to friends. He is a fascinating director who is making the sorts of films no one else would either dare or have the originality or intelligence to execute. Bright Future is such a film, and one that requires a brain as well as patience.
It’s an incredibly sad film, even the ending, ironic as it is, is a very sad ending and perhaps a scary one at that. The message is true, even if conveyed in film form, but essentially manages to deliver something that most youths will be able to associate with. You could see it as a more abstract and symbolic version of Larry Clark’s Kids.
Bright Future certainly ranks with Kids in its excellence, and definitely a film that I have come to treasure. Perhaps that I can associate with the delusions and disappointment of the characters in the film adds to my liking of the film, but the direction and film as a whole is something that I truly enjoyed watching. It’s one of the few films that has made me say “wow” after watching it, as it completely surmises a situation that everyone chooses to ignore.
There’s more to the film than meets the eye, however, with commentary on social structure, society, the West and so on and so forth. Every ounce of film seems to have been used to convey something meaningful and provide something for the brain to translate.
You will see similarities with other films that display the hateful behaviour of those that try to rally against the system, that fight The Man and try to bring it down; what they are, you can figure out on your own should you choose to watch the film. I love this film a lot, and it may bore those who lack the ability to comprehend a more realistic reality than is displayed on the TV screens, but for everyone else this film is an absolute marvel.
Verdict: Stunning, poignant and a beautiful example of intelligent film making about the harsh realities of life from a different perspective
