A Wonderful World
Based on the non-fiction novel "Mibuncho" by Ryuzo Saki published in 1990, director Miwa Nishikawa wrote the screenplay herself, updating the setting from the end of the Showa era to the present day. Centered on the rehabilitation process of a man released from prison after serving 13 years, the film raises issues lurking in society while depicting the stirrings of lovable human beings.
Everyone understands how difficult it is for someone who has committed a crime to return to society, without even needing to confirm the high recidivism rate. This is especially true for a man who has spent most of his life behind bars. If he belonged to an anti-social group, he even gets bonus points for that.
The protagonist, Masao Mikami, played by Koji Yakusho, serves a 13-year sentence for murder. Although he vows immediately after his release that "this time, I'll go straight," the path is steep. Mikami, who has no family, begins preparations for re-employment under the guidance of a lawyer who acts as his guarantor. At the same time, he begins searching for the whereabouts of his mother, from whom he was separated in childhood. First, he tries to use public welfare systems to secure a place to live and cover his immediate living expenses, but things do not go as planned. Hindered by the tediousness of the application-based system, his frustration only grows. His blood pressure rises at the casual remarks and attitudes of the staff. Having failed in life due to his impulsive nature, his future is fraught with difficulties.
Thanks to his feelings for the lawyer couple who care for him and his use of antihypertensive medication in emergencies, he manages to endure each day. Having finally obtained the benefits of welfare, Mikami gets serious about searching for his mother. He ends up seeking the help of the media, and the film realistically depicts the ulterior motives and true intentions of the media side as well. In the disrespectful attitude shown toward the subject, Mikami, one can catch a glimpse of the arrogance and cruelty of the media.
Writing it this way might give the impression of a long, stiff social documentary. But rest assured, this film is put together as a top-tier piece of entertainment. Each of his Urashima Taro-like responses, where he is earnest and inflexible about everything, stands on its own as comedy. I am extremely happy that Koji Yakusho embodies Mikami's lovable charm to the fullest.
The warmth of the people who surround Mikami and take care of him in various ways is also irresistible. The excellence of the supporting cast seems to invite the audience into the world of the screen as one of Mikami's guardians. There are too many examples to list, such as being drawn to the sometimes strict but actually kind gaze of Seiji Rokkaku, who plays the supermarket owner and neighborhood association president, and realizing that the cold response of the administrative official, played by Yukiya Kitamura, is actually overflowing with sincerity. As an aside, this Yukiya Kitamura gives a great performance as the exact opposite character in "A Family," which was released around the same time. If time permits, I recommend comparing this film with that one. It is a fine work that looks at the theme of struggling for a second chance from a different angle.
In the middle of the film, I was also surprised by the appearance of the yakuza couple played by Hakuryu and Midoriko Kimura, with whom Mikami once exchanged vows of brotherhood. I was so surprised that I lifted my hips and leaned forward. There couldn't be a more perfect casting. In particular, the intense back-and-forth between Koji Yakusho and the boss's wife, Midoriko Kimura, is powerful. I was moved by the scene where Kimura persuades and admonishes him to live in the real world no matter how painful it is. The gloomy, rainy sky at that moment is quite impressive. The sky, which shows various views from time to time, is a symbol of the state of society discussed throughout the film.
Even though I have had my fill of the difficulties of rehabilitation, the director still won't let me off the hook. What awaited at the end of the story was the primitive nastiness that humans possess. The discriminatory consciousness that everyone has is expressed as an outlet for stress. They repeat foolish acts in front of Mikami that one cannot bear to look at. This cold-blooded questioning uses Mikami as a filter to gouge the hearts of the audience as much as possible.
It is not something as simple as soaking in the aftertaste. I am dragged to the bottom of the aftertaste and drown. Faced with an overwhelming film, I am powerless.