
(Today’s NaPoWriMo prompt was to write five answers to the same question, leaving it up to the reader to decide what question they answer.)
That I could catch her eye again,
Somewhat wiser than before,
And notice what she wore more.
That I could hold my hasty tongue
From its urge to disagree,
To help her in persuading me.
That I could catch her by surprise
And earn a smile unforeseen
And bask in sharing dopamine.
That I could hold her close once more
To compensate for every shrug
And drown my flaws in that one hug.
That I could part with my control
And sanction her to take the wheel,
Of both my car and how I feel.
__________________________
MPA rating: Unrated (mostly PG-13-level content but some sex scenes bring it close to R)
Parasite certainly opened doors for other Asian imports to win over the Academy, since it would have been hard to imagine Drive My Car entering the race for Best Picture even a few years ago. A nearly three-hour meditation on grief, language, and regret, it is undoubtedly a “critic movie,” but one that would normally be resigned to the Best International Film category, which it did win at the most recent Oscars ceremony. While I would have preferred Tick, Tick …Boom! to take its place (or that of Don’t Look Up), something must have swayed the nominee voters, and indeed Drive My Car boasts a unique and indefinable poignance that is felt cumulatively rather than from any single scene.

Based on a few short stories by unconventional Japanese author Haruki Murakami, the actual events of the film could have fit into half the time but are extended by heavy conversations and a naturally unhurried pace. Yūsuke Kafuku (Hidetoshi Nishijima) is a theater director and actor known for putting on multilingual productions in which the actors speak different languages, all of which are shown as subtitles on a screen above the stage. After he discovers that his screenwriter wife (Reika Kirishima) is cheating on him, he comes home one night to find her dead of a sudden stroke. A couple years later, he visits Hiroshima to put on a production of the play Uncle Vanya by Chekhov, which includes a young actor (Masaki Okada) who he believes was his wife’s lover. While Kafuku is quite attached to his red 1987 Saab, he is required by contract to accept a driver, a young woman named Misaki Watari, with whom he develops a gradual bond of shared grief.
If someone were to ask what Drive My Car is about, I wouldn’t know exactly where to start. The description above is literally what it is about, yet it hardly captures the complex emotions on display, the pregnant pauses, the subtle assessments, the heady metaphors that live only in the eloquent soliloquies. Kafuku’s wife introduces a running narrative about a girl obsessed with a boy she likes, and the direction of that tale alone is loaded with potential interpretations while remaining rather opaque as well. Kafuku’s conversations with the actor who also loved his wife defy expectations with how one would expect rivals to regard each other, and the gentle, heartbreaking catharsis that Kafuku and Watari share near the end is too measured and serene to feel at all melodramatic or forced.

All that being said, this is a film that prioritizes subtlety and is not meant to be watched if you’re at all feeling sleepy. The whole first third of the film with his wife could have been left out (the opening credits don’t start until 41 minutes in), yet it provides some needed context when Kafuku listens to a tape of his wife’s voice so that he can practice his lines while Watari drives him. The actual play rehearsals are rather fascinating, pulling in Chekhov’s somber yet hopeful themes while humanizing the actors, including a mute woman who uses Korean sign language and shares an extremely understated yet moving “climax” of sorts with Kafuku during the performance of Uncle Vanya. There are also a host of shrewd details that film enthusiasts can pick apart, like the way the film’s setting of Hiroshima ties into its theme of lasting trauma.
I’m not necessarily against “critic movies” when they have a worthwhile story or execution, and here the execution and dialogue certainly overshadow the story. I can still appreciate and admire a long, acclaimed foreign drama, like 2000’s Yi Yi, for example, and Drive My Car is a film that becomes more than the sum of its parts. Restrained yet intellectually passionate, it’s a melancholy plunge into the depths of the human experience, and while not conventionally entertaining, those with patience will walk away with plenty to think about.

Best line: (Lee Yoon-a, performing from Uncle Vanya in sign language) “We’ll live through the long, long days, and through the long nights. We’ll patiently endure the trials that fate sends our way. Even if we can’t rest, we’ll continue to work for others both now and when we have grown old. And when our last hour comes, we’ll go quietly. And in the great beyond, we’ll say to Him that we suffered, that we cried, that life was hard. And God will have pity on us. Then you and I, we’ll see that bright, wonderful, dreamlike life before our eyes. We shall rejoice, and with tender smiles on our faces, we’ll look back on our current sorrow. And then at last, we shall rest. I believe it. I strongly believe it from the bottom of my heart. When that time comes, we shall rest.”
Rank: List Runner-Up
© 2022 S.G. Liput
766 Followers and Counting