Kazuo Ishiguro’s first novel, “A Pale View of Hills” (1982), is often described as his most personal book, and it has now been adapted to the big screen, said Kevin Maher in The Times.
Worth persevering
A “fascinating, often moving exploration of Japanese family life”, it is set partly in Nagasaki in 1952, and partly in 1980s Surrey. In the Nagasaki strand, Suzu Hirose stars as Etsuko, the unhappy wife of a boorish businessman, whose life of “meek, wifely servitude” is brightened only by her sparky friend Sachiko (Fumi Nikaido), who plans to leave the city for America. Framing all this are the sequences set in Surrey, where Etsuko’s grown-up daughter Niki (Camilla Aiko) grapples with her family’s troubled past while saying vapid things such as, “This house is full of memories.” It’s a pity these scenes are quite weak; my advice is simply to overlook them, as it is a “great film otherwise”.
‘Bland’ and ‘frustrating’
The Nobel laureate’s work has inspired “acclaimed adaptations” such as “The Remains of the Day” (1993) and “Never Let Me Go” (2010), said Tara Brady in The Irish Times, but this film demonstrates that there are “pitfalls” in tackling his work. It is visually elegant, but it lacks “narrative cohesion”; and key plot developments, including a late-stage twist, “land with jolting abruptness”. I found it “frustrating”, said Peter Bradshaw in The Guardian. Ishiguro is so good at delivering a kind of “distinctively Anglo-Japanese melancholy”, but this is just “bland”. It fails to carry over the “haunting, haunted spirit” of the book, agreed Guy Lodge in Variety: director Kei Ishikawa “never finds a narratively satisfying way to present ambiguities that can shimmer more nebulously on the page”. Still, the film “resists nostalgia”, and the story is “attractively and accessibly presented”.
Kei Ishikawa’s ‘moving’ film about Japanese family life lacks ‘narrative cohesion’
