Under the open sky, The human story of criminal rehabilitation of criminal actor Koji Yakusho and director Miwa Nishikawa is his biggest achievement so far.
The former Konk hero commented, “There is no second chance in Japanese society,” the only a prison is a place that will not offend you by behaving badly. Directed by Miwa Nishikawa, “Under the Open Sky” with shattering insight, sensitive depth, and true empathy tells the heart-wrenching tale of an angel whose soul has sunk the world with traditional inequality and hypocrisy. Ignoring Kozi Yakusho’s entire performance, this great human drama will probably weigh like a boulder at the discretion of the audience while collecting prizes within the country and abroad.
Nishikawa has been a mischievous name since the premiere of his fancy feature “Sui” on the Cannes director’s biography in 2006, making mischievous camouflage. He has also mastered the art of portraying morally disparate characters: liars and snatchers hide secrecy behind social positions. While his strategy is no less drastic, his sixth film crosses a new path with critical steps from a terai suffering for his honest values to a career criminal. This puts the film in the same category as humanitarian classics such as Jay Farr’s “Black Snow” and Shohei Imamura’s “The Isle”, featuring Yakubo as a former criminal.
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For the first time in Nishikova’s career, an original script was released for the adaptation of the 1993 Rioso Saki Naoki-winning novel “Mibancho” (introduction book). Saki, whose “Revenge of Me” played the role of gangsters and a serial killer after Truman Capote’s “non-fiction novel”, became a masterpiece of Imamura. “Open Skies” is nowhere near as harsh as Saki’s world, but it proves that social attitudes and inequality have increased since “Mibancho” in the 90s. What is shown in the film on the same scale is the power of empathy and compassion. Thus the Japanese title “Subrashiki Sikai” (Wonderful World) is yet ironic with the car-esco expression.
Masao Mikami (Yakusho, “Shall We Dance?”) Goes to jail for murder. He was later released after serving 13 years in prison. Once Jacob’s Square, he went to Tokyo and didn’t have to go straight. However, it is difficult to maintain “prisoner records” maintained by prisons, when they may be transferred to other state and public agencies without the knowledge or permission of the subjects.
A lot of the surrealist drama revolves around Mikami’s attempt to renew a driver’s license, so he can apply for one of the few jobs he is eligible for. Even with the help of lawyer Suzy (Iso Hashijun), the system is a red tape Kafkesku palace. A vicious cycle of the public is horrified by the burning skirmishes, which provoke him to fire, which reinforces their superstitions and contempt.
Meanwhile, TV producer Yoshizawa (Masami Nagasawa) and director Sunoda (Taiga Nakano) saw the prospect of a sensational release and lured her with the promise of finding her long lost mother. When the shooting takes place in the south, Mikami is killed by a betrayal and returns to his hometown Kyushu in the hope of re-entering the fold of his boss Shimonbar. Sadly, the reunion has become a reflection of traditional Yakub’s death. In a forgotten moment, he makes a tattoo, leans towards an old cadaver shaking in the garden, and has known himself for years.
It is impossible not to care about this man who just wants to involve himself, be useful and appreciated. The high price he pays represents the blazing social fraud of the film. Yet, being humiliated by a welfare officer such as Suzy, Iguchi (Yukia Kitamura), or the supermarket director, if this picture did not reconcile his misfortune with the kindness of such a common man, his journey would not be so long. Hoagie if Matsumoto (Seiji Rokaku), who are against him. Complain of wrongful shoppers.
The most heart-warming is how Sunoda’s combination of concerns and wisdom brings subtle understanding and solidarity. Matsumoto and Sunoda’s character archetype confirms that the outlook can be changed. In the end, Mikami becomes his relief by reconnecting with his humanity.
Two illustrations have been published from Nishikawa’s character chapter: Mikami runs vigorously behind various officers in authority and breaks down in tears over three unforeseen events. Against their persuasion of expressing true feelings, they represent the lifestyle they are forced to lead.
Their suffering also refers to the plight of the silent majority, as Yoshiwawa noted, “Society is very cruel to those who walk that path today … but those of us who are on the path are not happy.” So we’re not sorry. Together we save the life of the shuttler in Miami’s company. At this time, the Japanese government is doing great austerities for all citizens.
In his portrayal of a flawed hero who wears his heart in his hands, Yakusho is one of the best performances of his career. The versatile actor fills his middle-age role with childlike innocence, which convinces him not to see anyone. He further explains his personality in a clear way how his code of honor is obsolete in contemporary society. He did not avoid discomfort even by adopting his violent style, even if it started only by protecting the weak. The rest of the pitch-perfect cast is very clear about Makkish’s emoticons.
Top-quality drawers combining contemporary authenticity with production-style stylistic grace notes. Norimichi Kasmatsu, who lent Lee Sun-il’s masculine thriller (“Villain,” “Apology,” “Rage”), lends a sharp, grassroots sensibility to the scene. Composer Masaki Hayashi has composed wall-to-wall music. Instead of songs sung or recited, the mood is spread.
Under Open Sky Review: Koji Yakush Transforms Vertuso into a Heartbreaking Rehabilitation Drama of Pre-Confidence.
