★ 8 / 10
Slight unevenness can't dampen what is, overall, a lovely, compelling, relatively light drama
I_Ailurophile
For a filmmaker best known for ponderous dramas, and at that surely some of the best pictures ever made, it's so interesting to go back and watch pieces that…
For a filmmaker best known for ponderous dramas, and at that surely some of the best pictures ever made, it's so interesting to go back and watch pieces that Kobayashi Masaki made earlier in his career. 'Youth of the son' feels much more like a TV sitcom of the 50s, while 'Fountainhead' quite comes across as a melodrama fit for daytime television; this feature of 1955 is arguably even more divided in its blend of comedy and drama. There are ruminations ranging from very light to notably more weighty concerning the differences between generations, and generational perspectives on contemporary Japan, and more serious reflection on how society and people have changed in the ten years since World War II ended. Various strains of drama and strong threads of romance also weave through the narrative, likewise splitting the difference between comedy and drama, and in turn the vibes herein cover a spectrum from unbearably kitschy, to earnestly cheerful or solemn, to, yes, melodramatic; the references I made above were not without reason.
All of it - all this, and more - is quite well written, actually, a fine credit to screenwriter Matsuyama Zenzo. A few years before he would collaborate with Kobayashi on his monumental trilogy 'The human condition,' Matsuyama penned a compelling story of life, love, and changing times and hardship in contemporary Japan. Firm scene writing and interesting characters make for an enjoyable viewing experience, and at that also one that gives viewers much to honestly think about. This isn't to say that the result is flawless, because somewhere between Matsuyama's screenplay and Kobayashi's direction what somewhat comes across in 'Beautiful days' is a sense of lacking focus, and unevenness. This is no specific indication of quality, for each facet is very suitably well done, and everything is adeptly tied together for an absorbing, satisfying movie; rather, it's just that as the storytelling touches upon so many ideas and moods, there will invariably be a measure of whiplash. I don't know what the solution to this may have been, for there is no superfluous element in the plot; I just know that as the tale necessarily swings to and fro, rough edges manifest as the disparities wear on us as viewers.
And still, the writing is completely solid with understated vitality as the film traces the interwoven lives of these characters. Though the mood swings, Kobayashi's direction is superb in capturing the spirit of each scene in turn, and in shaping the whole into as cogent and cohesive a form as it could have taken. In fairness, too, in the latter half the discrepancies become less troublesome as the threads converge; storytelling that may have initially seemed a little scattered is decidedly tighter as the length draws on. Truthfully, for as much as I've harped on the wide spread in 'Beautiful days,' it's very well made overall, and any subjective issues are minor in the grand scheme of things. In every other capacity this is lovely, with fantastic filming locations, and production design and art direction, and sharp costume design, hair, and makeup. Editor Sugihara Yoshi is to be commended for the keen eye with which he molded the title; though not so outwardly noteworthy, I appreciate Morita Toshiyasu's cinematography. And not least as the course of events builds to its confluence in the back end, and its conclusion, the actors give wonderfully heartfelt performances commensurate with the pleasant warmth that the saga ultimately evokes. Only for their prominence do some cast members stand out above others, and all around the acting is characterized by welcome, nuanced range and emotional depth while never getting fully bogged down in any one beat or feeling.
It may not strike the same chords as 'The inheritance' or 'Black River,' let alone 'Harakiri,' but even if it bears some imperfections, it's nice to see Kobayashi exploring a different side of himself as a storyteller and filmmaker. Even as it hits on some downbeat notes this picture is kind of refreshing for what is, all told, a softer variety of drama. I tend to have very high expectations of the filmmaker, and while not all his works are equal, I'm pleased that when all is said and done I think 'Beautiful days' surely counts among his successes. It's nothing that totally demands viewership per se, but if one has the opportunity to watch then this is pretty great, and I'm happy to give it my hearty recommendation.
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