I liked how this movie concentrated on just one thing, the life story of its protagonist. The camera constantly sweeping until getting married doesn't let the storytelling stop at some other less important point. It deftly uses the gardrobe as a symbol of intimacy, I've found it to be a marvellous scene when a stranger is led to this secret place.
playful, careful and considerate meeting of literature and cinema.exquisite framing, underlined by a constant slow pan. nary a trace of colour. gentle minimalistic piano by sakamoto-sensei. in "tony takitani", it feels like the outside world is but a whisper from far away
A very interesting essay about the different approaches we can do when filming. Tony Takitani is a compound between classic japanese cinema (front shots, camera at floor level...) and a new way of storytelling through a narrator who's responsible not to let the spectator lose the attention. The beginning background is one of the most beautiful sequences I've ever seen.
jun ichikawa has made a beautifully constructed film with tony takitani. and he did all that without losing the feel of a haruki murakami writing. the narration, the minimalism, and the style are both ichikawa's and murakami's. tony takitani is, in the most proper sense possible, a collaboration. and what about that perfect chemistry between issei ogata and rie miyazawa? goddamn.
Portraits of loneliness narrated by slideshow editing, a "user-friendly" exercise here reducing literally sequences in snapshots, highlighted by camera turning-page movement, off-field absence and image levels crush, music and narrator voice always "on" events. The story itself was to me lacking thickness, based on the interesting main theme (different value to objects). Reasonable for half an h., didn't "feel" it.