7.6 | / 10 |
Users | 0.0 | |
Reviewer | 4.0 | |
Overall | 4.0 |
A young woman's husband apparently commits suicide without warning or reason, leaving behind his wife and infant. Yumiko remarries and moves from Osaka to a small fishing village, yet continues to search for meaning in a lonely world.
Starring: Makiko Esumi, Takashi Naito, Tadanobu Asano, Akira Emoto, Mutsuko SakuraForeign | 100% |
Drama | 69% |
Video codec: MPEG-4 AVC
Video resolution: 1080i
Aspect ratio: 1.85:1
Original aspect ratio: 1.85:1
Japanese: LPCM 2.0
English
Blu-ray Disc
Single disc (1 BD)
Region A (B, C untested)
Movie | 4.5 | |
Video | 4.0 | |
Audio | 4.0 | |
Extras | 2.0 | |
Overall | 4.0 |
Arrow UK recently released Family Values: Three Films by Hirokazu Kore-eda, and one of the things I mentioned in my reviews of that trio of intimate stories often focusing at least partially on children is how the Japanese tendency toward not wearing emotions on one’s sleeve plays into the presentational aspects of all three films to a greater or lesser degree. It’s kind of interesting to compare and contrast the traditional Japanese reserve with the more histrionic reactions of, say, some European or Middle Eastern cultures, where grief in particular tends to be displayed in outsized reactions that are often hysterical (without any of the pejorative and/or gender based “baggage” that that particular term has come to carry along the way). A lot of the initial response to Maborosi, Kore-eda’s first feature film after a long career in Japanese television, compared Kore-eda’s approach to other Japanese masters like Yasujirō Ozu, but I’d posit a perhaps tangential but hopefully salient comparison in terms of how Kore-eda manages to convey his characters’ emotions without going full throttle on over the top displays: Romantic poets like Wordsworth and Coleridge. Though the language this era’s writers used tended to be on the flowery, often hyperbolic, side, one of the recurrent motifs in many of the iconic Romantic works is how external phenomena like weather tended to reflect the interior worlds of the writers. That “as above, so below” (or perhaps more accurately “as outside, so within”) tendency definitely informs Maborisi, especially after a heartbreaking tragedy interrupts the seemingly idyllic (if already troubled) life of young housewife and mother Yumiko (Makiko Esumi).
Maborosi is presented on Blu-ray courtesy of Milestone Films with an AVC encoded 1080i transfer in 1.85:1. I'm frankly a little conflicted
about some aspects of the appearance of this release, and for that reason I highly recommend fans carefully parse the screenshots included with
this
review in order to help inform their own opinions. I have yet to see Maborosi in a theatrical exhibition, and so I am basing the following
comparison comments on DVD versions I either owned or viewed. As Kore-eda aficionados will know, Maborosi has had several previous
DVD
releases, and two of them (the Spectrum and Bandai releases) both had the slightly skewed chroma and luma levels that this release also has,
something that tends to make contrast and black levels look a bit anemic at times. That said, the "true black" moments, like the opening pre-
imagery
black screen or even the interstitial image free moments look solid, something that tends to support the thesis that Kore-eda was going for a kind of
hazy, dreamlike look (and it should be noted Milestone's press materials tout this as a director approved HD master). The entire look of this film is
intentionally diffuse and soft, aspects that are either
elevated or exacerbated (depending on your reaction) by Kore-eda's well publicized choice to use only natural lighting throughout the film. With
that in
mind, it's understandable that the outside material tends to pop with a good deal more vividness than the sometimes kind of drab looking interior
work. Some of the darkest moments suffer from crush (look for example at the first scene with the train where black outfits tend to be swallowed
up
by the shadows, leading to a kind of "disembodied head" moment). There's also a bit of wobble in the opening credits. Finally, grain is somewhat
variable, at times rather minimal
and at other times (notably the final seaside sequences) more visible (even looking a bit splotchy in the film's final moments). That variability aside,
though, apart from the inherent softness and Kore-eda's tendency to go for midrange shots rather than close-ups
(something Ehrlich spends some time analyzing), while there isn't a ton of fine detail, there's also no sign of smearing or waxiness. Perhaps due to
the interlaced presentation, there are several clear examples of "stair stepping" or "jaggies", starting with the circle of the Milestone Films logo and
also
tending to afflict thin lines like the tramlines over the railroad station (see screenshot 4) or even the spokes on bicycle wheels (broader and/or
thicker straight
lines like the borders
of the panels in some of the doorways escape this particular anomaly). Anyone who has
had one of the better DVD releases will probably appreciate this release even if they do have occasional qualms, as I do (those with the New Yorker
Video DVD release, which had a pretty radically skewed palette which frankly looked more "natural" but which I suspect was not true to the
theatrical
exhibition, may be in for a bit of a shock). I'm scoring this at 4.0 since for me personally it's a substantial upgrade over the DVDs and a lot of the
transfer is quite nice looking, but there are some issues here that a better master/encode may have been able to ameliorate if not completely
eliminate.
Update: I've already had several PMs asking if this release is "really" interlaced, and just for clarification's sake, I always check resolutions
with PowerDVD. I, too, was surprised to see this, and actually put in another disc that I know is progressive to see if the program had glitched
somehow, but that other disc accurately showed as progressive. If this turns out to be a PowerDVD issue (which, frankly, would not
surprise me, though I don't think that's the case here), I'll of course update things here.
Maborosi's LPCM 2.0 track is quite enjoyable, if intentionally quiet at times (a lot of the film plays out in almost wordless tableaux). The film's lovely score by Ming-Chang Chen, which features a lot of piano, sounds vibrant and full bodied without any unnecessary or unwanted shrillness or brightness. Dialogue is also rendered cleanly and clearly, and the environmental effects also resonate with authenticity throughout the presentation.
Maborosi is slow going at times, and it may in fact not pay off with an overwhelming amount of emotional catharsis, but it's a really involving, contemplative viewing experience that provides some thoughtful musings on love, loss and trying to come to terms with the sometimes unfathomable vagaries of fate and misfortune. I found some aspects of the video presentation problematic, but audio is great and both the commentary and featurette are interesting (even if the featurette is a bit on the odd side). Recommended.
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