The only real disappointment with this film is that I will probably never get to see this on DVD. I want to own it so badly now.
I was tremendously impressed with this film when I saw it for the first time at the Ichikawa retrospective in Vancouver tonight. It reminded me of another favourite film of mine, Yasujiro Ozu's Good Morning.
I Am Two revolves around a Japanese nuclear family (husband, wife, and small child) and their trials and tribulations. There's no hard plot here, just vignettes of life taking place over the course of 9 - 12 months (the time span is never made very clear, but that is probably an accurate estimate).
The film is told from the pseudo-perspective of a one year old (who turns two at film's end). I say pseudo, because Kon doesn't inflict childlike camera angles on us throughout the film. Instead he relies on narration by the child, mainly to introduce new characters to us from his perspective and to introduce new plot points, again from the child's perspective.
The film has a similar pace to Good Morning, similar character interactions, and similar themes (i.e. the loss of traditional Japanese values as the pace of change accelerates). It doesn't benefit from Ozu's use of colour, but neither is it a fault of the film. I Am Two is not Good Morning, but you could consider them first cousins, both of which have a great deal of charm.
Like Good Morning there is oblique social commentary, but it is never in your face. If you recognize it, then so be it, the film seems to suggest. If you miss it, then so be it also. Both films recognize changes in Japanese society, but neither film passes judgement on those changes.
One of the interesting aspects of the film is the opening ... it details the birth of Taro, narrated by Taro, and from Taro's "blurry, ill-defined" perspective.
If this retrpspective passes through your town, this is one I VERY VERY HIGHLY recommend. It is a must see. And I would love someone (preferably Criterion) to put it out on DVD.
I was tremendously impressed with this film when I saw it for the first time at the Ichikawa retrospective in Vancouver tonight. It reminded me of another favourite film of mine, Yasujiro Ozu's Good Morning.
I Am Two revolves around a Japanese nuclear family (husband, wife, and small child) and their trials and tribulations. There's no hard plot here, just vignettes of life taking place over the course of 9 - 12 months (the time span is never made very clear, but that is probably an accurate estimate).
The film is told from the pseudo-perspective of a one year old (who turns two at film's end). I say pseudo, because Kon doesn't inflict childlike camera angles on us throughout the film. Instead he relies on narration by the child, mainly to introduce new characters to us from his perspective and to introduce new plot points, again from the child's perspective.
The film has a similar pace to Good Morning, similar character interactions, and similar themes (i.e. the loss of traditional Japanese values as the pace of change accelerates). It doesn't benefit from Ozu's use of colour, but neither is it a fault of the film. I Am Two is not Good Morning, but you could consider them first cousins, both of which have a great deal of charm.
Like Good Morning there is oblique social commentary, but it is never in your face. If you recognize it, then so be it, the film seems to suggest. If you miss it, then so be it also. Both films recognize changes in Japanese society, but neither film passes judgement on those changes.
One of the interesting aspects of the film is the opening ... it details the birth of Taro, narrated by Taro, and from Taro's "blurry, ill-defined" perspective.
If this retrpspective passes through your town, this is one I VERY VERY HIGHLY recommend. It is a must see. And I would love someone (preferably Criterion) to put it out on DVD.