Rhapsody in August

1991 Directed by Akira Kurosawa. Starring Sachiko Murase, Richard Gere.

REVIEWED By Kathleen Maher, Fri., March 27, 1992

Kurosawa's lovely meditation on the nature of American-Japanese relations could not come at a better time. While casting about for villains this election year, the present administration has hit upon the Japanese. In spite of this, Kurosawa is generous in his attitude toward the Americans in this film about the post-bomb generation in Japan. Kurosawa uses three generations -- four children, their parents and the children's grandmother -- to represent the Japanese people. The children have come to stay with their grandmother who lives in a beautiful house in the mountains above Nagasaki, while their parents have gone to visit a long lost uncle in Hawaii. The uncle's son is wealthy, debonair, half-Japanese, all American and played by Richard Gere. The kids, sweet and mischevious, can barely contain their desire to visit Hawaii themselves. But their grandmother isn't so sure. Thinking back, she remembers the day the bomb fell, the day her husband died and when the tangled paths of her family changed forever. For the kids, this becomes an opportunity to learn more about Nagasaki's past and about their grandmother. Kurosawa's visit with this family is a lovely idyll and the wonderful old woman's relationship with her grandchildren is the best part of the film. Shortly after the kids' parents return from Hawaii, Gere, as the newfound cousin, comes to visit and, gradually, the relationship between Japan and America is revealed as something much more complicated than a matter of understanding and forgiveness. The parents, so happy to find a rich relative and so hopeful that some of this wealth will come their way, are terrified of offending him. But he comes to pay his respects to his family and to see the place his uncle died. As lovely as Rhapsody in August is, it is also disappointing. The privileged view of the grandmother and her grandchildren and their interactions is fully realized, if a bit one-dimensional, but once the parents arrive on the scene, the film loses its focus. It's probably because the parents, as representatives of modern Japan, have so much to say and so much to work out, but not much of that really makes it to the screen. By the end of the film, there is no reconciliation or even acceptance, only a confused feeling of sadness and loss.

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More Akira Kurosawa Films
Madadayo
Kurosawa's 30th and last film is Madadayo, which translates as "not yet." Regarded as one of his most personal films, Kurosawa uses incidents in the ...

Marjorie Baumgarten, Dec. 7, 2000

Ran
Kurosawa uses Shakespeare's King Lear as a template, but in Ran Lear's three scheming daughters are sons, and the action is transposed to a mythic, dreamlike, feudal Japan. Like an adrenalized fever dream of ultimate power gone awry, Ran reveals Kurosawa's grasp of visual splendor at its most powerful.

Marc Savlov, Dec. 1, 2000

More by Kathleen Maher
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July 10, 1992

Titicut Follies
Wiseman filmed conditions in the Bridgeport Mental Hospital with a bare minimum of crew and equipment, which resulted in a devastatingly candid view of life behind the high walls of a state mental hospital for the criminally insane.

July 10, 1992

KEYWORDS FOR THIS FILM

Rhapsody in August, Akira Kurosawa, Sachiko Murase, Richard Gere

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