From the "People" Archives:

by Mark L. Feinsod

To read the first part of this article, click here.

The splendor of "Maborosi" lies in the cinematography of Masao Nakabori, who presents cityscape and landscape via compositions reflecting Yumiko's sorrow. Shots are held for longer than usual, and natural lighting is used distinctively-- interior scenes are sometimes so dark that no detail can be discerned, and many exterior shots seem to have been captured during overcast days. The story ends with the spectacle of Yumiko following a funeral procession-- first, we see them from overhead, through foliage and snowfall, and then from afar, silhouetted against the ocean and the setting sun.

iW: The scenes with Yumiko's grandmother disappearing, and of Ikuo leading up to his suicide, have motifs to them -- trains and bicycles and dreams, and so forth. Which of these were conscious decisions with specific meanings, and which were intuitive artistic decisions?

Kore-Eda: Right from the beginning of the film, I knew I wanted to use tunnels for aesthetic as well as symbolic reasons. It's not that one intention was stronger than the other. The same goes for windowsills, stairways, terraces, and any other place where the light changes.

iW: I think American viewers will be surprised by the relationship between Yumiko and Tamio, and how although they get married as strangers they grow to love and respect one another.

Kore-Eda: Arranged marriages are quite common in Japan even today, but a scenario like the one in my movie is rare. In reality, people would go on a few dates or at least have the kids meet each other before they remarry and start living together. But in this film, I skipped that because this was the story of Yumiko and her loss of Ikuo. I think the married life begins for Yumiko and Tamio after the end of the movie. At the end of the movie, Yumiko has reached the starting point. But that's another story.

iW: How do you think "Maborosi" will be received by American audiences used To more blunt fare such as Hollywood films?

Kore-Eda: Fast cutting, loud music, blood spewing everywhere and gunshots permeating the scenes does not necessarily make for a shocking movie. For me, a story about a family by John Cassavetes or a story about factory workers by Ken Loach was [sic] far more shocking than "Pulp Fiction". Most of the Japanese audiences only see Hollywood blockbusters, so the situation isn't that different from the States. But I believe that people who will feel something for "Maborosi" and begin to think because of the film exist everywhere regardless of religion, nationality or the state of the film industry in their countries.

iW: Are you excited about your film having a theatrical run in America?

Kore-Eda: Of course, I am ecstatic about the American release. I look forward to hearing how the audience there receives my film. I love Samurai films, Yakuza films and animation, but it would be nice if people there realized through my film that that's not all that's being made in Japan.

iW: What are your plans for the future?

Kore-Eda: Right now, I'm finishing up a documentary for television. The subject is memory. Next year, I am planning to start working on my next film. I am going to work hard in hopes that it too will be released in the States. Phew.....