Kokoro / The Heart

Kokoro / The Heart (1955)

Their faces make it clear enough: this isn't a sappy romance film?

Director: Ichikawa Kon
Writers: Hasebe Keiji, Inomata Katsuhito, Natsume Soseki
Date: 1955

Genre: Drama
Description: Husband-Wife relationship, troubled marriage, sins of the past, a haunted man, friendship, buddhism

Cast: Mori Masayuki, Aratama Michiyo, Mihashi Tatsuya, Yasui Shoji, Tanie Kitabayashi

Crew of note:

Runtime: 122 mins.
Color: Black and White

Nobuchi and Shizu are a married couple, but something from their shared past has troubled their relationship since its beginning. Nobuchi mostly keeps to himself, his books, and his thoughts, with few friends except for one sympathetic student with whom he feels an odd affinity with. This dark secret that only he knows haunts him day and night; will we ever find out what it is?

A surprisingly deep film with very complex and difficult characters. At first it seems the movie will just become another marital affair film, but in fact it is more about the past, one’s sins, living on with what you have, and difficult circumstances. Barely anything happens, and most of what is shown is directly related to the main plot, with very little diversions, not a frame wasted. Yet the movie is also very still, very silent, very somber, an incredible effect that Ichikawa achieves with close and mid-range shots and characters that are constantly in flux of emotions and movement. The voices are muted, but never totally silent, and the economy of their words is very Japanese. Another great factor in this film is the almost inexplicable bonds between Nobuchi, Shizu, and Kaji. A movie that seems boring and uneventful on the surface, but the characters and their respective performances make this a real wonder.

There is something very raw, very base about the characters in the film, as if they were acting upon their deepest, simplest desires. The transition between the present and the past is also done well, with flashbacks inserted into the most appropriate moments. Movies that use multiple flashbacks cut into the main timeline usually feel very fragmented and confusing, yet in Kokoro, the past is so significant, so a part of the present that the breaks in continuity are barely felt. At the end of the film, once everything is revealed, it is not sympathy, and perhaps not even compassion that one will feel with the main characters. It is something more complex, more conflicted. I am at odds at what word is best, so I guess I’ll just leave that idea incomplete and let you find out for yourself.

Aratama Michiyo in Kokoro / The Heart

❤ (The first pun ever made with symbols? Quite possibly!)

Although nothing much happens on the surface, there is a pot (maybe a barrel) of boiling water (note: emotions, if you suck at metaphors) underneath. With three sticks of dynamite. If you appreciate the importance of character, and the exploration of a man’s psychology, his past, and his conflict, then this’ll be a real treat. Few can surpass Ichikawa’s study of Nobuchi captured on film.

things to take note of
Kaji’s buddhism
Nobuchi’s conflict
Shizu’s repression

best moment
Whenever Kaji and Nobuchi argue

why you should watch this
Incredibly complex emotions
Some of the most well developed characters evar

rating: 8.5

Plot: B+
Cast: A
Cinematography: B+
Music: C+
Entertainment: B

similar movies, maybe:
Meshi / Repast, directed by Naruse Mikio
Both versions of Spring in a Small Town (1948 and 2002)