Like Father, Like Son

There are many comparisons made between Hirokazu Kore-eda and one of the Twentieth Century masters of Japanese cinema, the much lauded Ozu. With each film that the modern-day equivalent makes, the comparisons will continue to grow and grow, as his films maintain the theme of contemporary family life in Japan.

Similar to the recent 'Kiseki (I Wish)', 'Like Father, Like Son' focuses on the lives of two young boys and their unconventional relationships with their parents. While, 'Kiseki' looked at the lives of two brothers, separated by the parents' divorce, 'Like Father, Like Son' looks at the lives of two unrelated boys who, after a hospital mix-up, were raised by a random couple. The mix-up coming out years later, once the boys have started to develop, leaves both sets of parents unsure as to how to proceed.

'Kiseki' looked very much at the lives of the young brothers and how they work behind their parents' backs to be reunited, only to learn the hard way that things have now changed. In his latest effort, Kore-eda focuses very much on the parents, particularly the straight-edged, hard-working salary man, Ryota, who is forever baffled by his son's meagre talent and work ethic in comparison to his own. His equivalent, Yudai, raising his biological son, has a more relaxed approach to life, raising his son in a loving, family environment.

Naturally, the polarised approaches of the two males to life and parenting is a clear plot device to make the inevitable life-lesson learnt more poignant by the film's conclusion, and perhaps a slightly more idealistic scenarios for the story. However, much like his previous works, Kore-eda offers no easy solutions. Torn between the boy he has raised and loves and his blood, Ryota looks to all possible permutations for a solution to situation, but each presents its own problems.

The family situation presented is one of blood versus upbringing, with Ryota convinced that blood signifies everything - an important aspect of Japanese culture, where blood-type can be thought to determine various aspects of one's life - and as such looks at an interesting aspect of Japanese culture, and while a strong effort, it never quite matches the nostalgia of 'After Life', the detachment of 'Nobody Knows' or the coming of age of 'Keseki'. But here, Kore-eda again affirms that there is a case for himself as the heir to Ozu's title. Fifty years on since the latter's death, the former tackles the changes of a different time, with more and more unconventional relationships and post-modern family structures. Where Ozu looked at emerging female independence ('Late Autumn'), Kore-eda looks at a love doll developing a soul ('Air Doll'). The times have changed, but like father, like son.