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Product Details

  • Actors: Tadanobu Asano, Mayumi Tanaka, Chieko Baishô, Takumi Tsutsui, Denden
  • Directors: Yôji Yamada
  • Writers: Yôji Yamada, Emiko Hiramatsu, Teruyo Nogami
  • Producers: Chiaki Noji, Hiroshi Fukazawa, Takashi Yajima
  • Format: Color, DVD-Video, NTSC, Subtitled, Widescreen, Import
  • Language: Japanese
  • Subtitles: English
  • Region: Region 1 (US and Canada This DVD will probably NOT be viewable in other countries. Read more about DVD formats.)
  • Number of discs: 1
  • MPAA Rating: UNRATED
  • Studio: Strand Releasing
  • Release Date: Sept. 8 2009
  • Run Time: 133 minutes
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Product Description

Kabei - Our Mother

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Amazon.com: HASH(0xa2cdfedc) out of 5 stars 14 reviews
37 of 37 people found the following review helpful
HASH(0xa2a9f6a8) out of 5 stars Yoji Yamada's Powerful Tale About a Family's Struggles During WARTIME Japan Aug. 5 2009
By Woopak - Published on Amazon.com
Format: DVD
One of the recent greats of Japanese cinema is director Yoji Yamada, the same director responsible for award winning films such as "Twilight Samurai", "Hidden Blade" and "Love and Honor". I loved Yamada's take on the samurai period, they had a powerful sense of humanity that felt very real and sincere. When I heard about his latest film I eagerly awaited its release on dvd, thankfully the film is also being released as part of a limited International film festival and I also managed to acquire an official imported copy. "KABEI OUR MOTHER" (2007) is a melodrama based on the real life story of Kayo Nogami, a strong woman who lived during wartime Japan. It is a nominal tear-jerker and is a compelling look at her life, her trials and her strengths.

Nogami Kayo (Yoshinaga Sayuri) and her husband Shigeru (Bando Mitsugoro) affectionately called "Kabei" and "Tobei" ( a variation of the Japanese words o-KA-san for mother and o-TO-san for father) by their daughters form a humble and happy family in 1940's Japan. Everyone in the family has their `pet names' and their daughters' names Teruyo and Hatsuko abbreviated to Teru-bei and Hatsu-bei. Shigeru is a scholar and he wrote several essays that are a little controversial and may be deemed as "rebellious" by some due to its non-conformity. One evening, Shigeru is arrested for political reasons and what authorities call "thought-crimes". Kayo is left to attend to the family's needs with the war looming in the Pacific. In these difficult times, Shigeru's frazzled, kindhearted student Yamasaki Toru (Todanobu Asano, Ichi the Killer) shows up at Kayo's doorstep to offer his aid. Yamasaki develops a strong bond with Kayo, her daughters and their aunt, Hisako (played by beauteous Rei Dan). Kayo stands us a pillar of silent strength through the family's years during war and strife, taking each challenge one by one and overcoming each one through her spirit. But not even a woman of Kayo's strength can anticipate where her heart lies and destiny would lead.

Director Yoji Yamada's approach to the film is very subtle but it never relents on its narrative and emotional impact. The social effects of war are represented in the film, but Yamada represents this through the situation itself and through his characters rather than from a point of view. The direction avoids registering any disapproval of the war and it brings its characters into exposition rather than its historical context. The effects of one's opinions, on what is seen and heard is subtly touched upon by the script as well as some changes that may affect regular people. Some characters do express their disapproval of Japan's war-fueled nationalism, and the films unfold in a manner that demonstrates the cost on the civilians during war.

The film's main circumstance come from the sacrifices of its main characters and they are defined through such acts of courage. Kayo is often faced with fights she cannot win, but she stays her coarse, staying silent and subservient to avoid further confrontations with authorities. The script co-written by Yamada (along with Haramatsu Eriko and Teruyo Nogami) keeps its focus around its human traits, which is why it remarkably succeeds in establishing a subtle anti-war message that is entrenched in its characters. It also shows the changes that happen within one individual, and how one's life experiences can affect one's outlook either for the better or for the worse. The screenplay is definitely against the Japanese government's handling of the war, but when it expresses its message through its characters, they are portrayed in a manner that is quite effective; the characters sidestep the temptation of becoming political mouthpieces by letting the situation and the way they deal with their trials speak louder. Every director should take notes from Yamada, he allows his characters and their hardships define their story rather than relying on any overdone speeches dressed up with sugar-coated emotion--such approaches are so overdone in Hollywood.

At first impression, "Kabei Our Mother" may seem like a regular story as to how one woman defied the odds and fights the good fight. Kayo is a very sympathetic character in the film; as she is confronted with certain things that made an impact in her family's life. The war, unjust authority figures, and the hardships brought about by certain situations are nicely exposed. The first thought would be to feel sympathy and respect since Kayo is forced into a situation that she has to overcome illness and her situation grows worse as the film goes on. The film's point is brought into fruition, but the viewer has to remember that while Kayo takes on pressing emotionally extreme matters based on an unavoidable circumstance, she also confronts the burdens of her personal desires, needs, hopes and dreams all for the sake of duty, responsibility and motherly love. This was exceedingly represented in the scenes with her spiteful father, and her scenes with daughters.

The acting is phenomenal. Yoshinaga Sayuri bears her soul for the film, her acting is awe-inspiring; look into her eyes, you will see a woman exhausted to the limit but you see that she does the best she can, neither complaining or expressing her pain. One note-worthy scene is Kayo's first visit to her husband, as she witnesses the boils brought about by filthy surroundings. Yoshinaga Sayuri portrayed her character with finesse and powerful dramatic impact however simple the scene may be. As emotionally charged the film was, The film doesn't forget to have a very subtle sense of humor; Todanobu Asano is entertaining with his occasional deadpan humor and the black sheep uncle also had his moments to pitch in some comedy. Yamada also manages to keep things simple; the film has very strong emotional scenes, but never for one minute did he succumb to become dangerously close to becoming too drenched in sentimentality. The direction kept its shots simple, with the occasional close-ups and slow pans to express emotion. The film's cinematography is also beautiful but nothing too elaborate. The set designs are nicely done and accurate; with colors leaning towards Earth colors.

The film's powerful significance come from its portrayal of sacrifices, and its strong humanity makes "Kabei Our Mother" a worthwhile film. It portrays its characters with strong depth with a touch of understandable remorse kept inside. The film's final scene delivers a overwhelming conclusion in exposing Kayo's choices--even those born of love and duty are not reaffirming of traditional values or even redemptive in nature. Usual tear-jerkers rely on expected emotion, but Yamada takes us by surprise by avoiding such mainstream expectations. The final scene does not affirm any positive views and doesn't make it seem like all of Kayo's sacrifices were necessarily worth it. There's a quiet, powerful, bittersweet theme attached that while no one is to blame, everyone is responsible--sometimes the honorable choice isn't necessarily the correct one to fit life. Sometimes, situations change and people change, and we carry a burden of regret that we cannot share until our end; it's what makes "KABEI OUR MOTHER" an accomplished, compelling work in cinema; it is marvelously glorious yet so terribly sad. Potentially inadequate with decades of regret and unpredictably uplifting--sometimes that's the way life plays out.


Video/Audio: 1.77 ratio anamorphic widescreen. The picture is clean and sharp, the colors are a little muted and similar to other Japanese film transfers that lean towards Earth colors. The 5.1 Japanese Dolby digital sound is clear and fits this type of film. The Subtitles are perfectly timed and well-translated.
21 of 24 people found the following review helpful
HASH(0xa2a9f684) out of 5 stars Excellent Culture Film Oct. 11 2009
By Michael Hillsgrove - Published on Amazon.com
Format: DVD Verified Purchase
If you are looking for Katanas and Samurai, this is not your film. It takes place in the 1930's long after those things are gone. It is about a mother of two children dealing dealing with the ramifications of her husbands moral objections to the Japanese war with China, to a period just after the Hiroshima as seen entirely from this one womans perspective. Like all Japanese movies, there is no truly happy ending, one bit of the film making art that the Japanese never mastered.

By the end of the film Kaibie has lost a husband who died ignominiously in prison (for not thinking like a true Japanese), a potential replacement (one of her husbands students) has been shipped off to be killed in China (actually on the way home), and her favorite relative has been fried at Hiroshima. To make matters worse, she was dispossessed by her father who was embarrassed by her husband at a dinner party where he is showing off his new trophy wife. Her two daughters do survive and prosper however we find in the epilogue, one being a doctor and the other an art teacher. The last scene has Kaibie on her death bed dieing of old age (The happiest event of the movie - that someone died of old age) with her two daughters in attendance. It is modern Japan at this point and we see the results of the womans excellent efforts with these two kids. Her last words do upset Teruyo, the youngest daughter, now middle aged, ensuring that no one comes away feeling good.

As you read this review, remember that this is very much a classic Japanese film and that all the rules apply. This movie was a study of how Japanese society worked in the 30's and 40's and is not a "feel good always happy" American film. There is no bad guy, it is a focused look at misery and deprivation, with small amounts of kindness thrown in along the way. Like life, Japanese films come with inspirational but tragic endings. This is the Japanese version of a chick flic and has enough emotion to make a woman happy.

Normally, I only purchase Samurai films, but I went with this to sample the culture. It was a good buy, and while I won't watch it over and over, it is one of the most recommended works in my collection.
3 of 3 people found the following review helpful
HASH(0xa2aa4150) out of 5 stars A touching tale of a mother's courage in wartime May 16 2011
By Dale Miller - Published on Amazon.com
Format: DVD
With this film, director Yoji Yamada joins the pantheon of distinguished Japanese antiwar films that includes such classics as Imamura's Black Rain, Ichikawa's Harp of Burma and Fires on the Plain, and Kobayashi's monumental trilogy, The Human Condition.

Yamada, whose work has only recently been available in the US (Twilight Samurai, Love and Honor), has enjoyed a long and immensely popular career in Japan. Like many of his early successes, Kabei Our Mother is a sentimental tear-jerker that tugs at the viewer's heart strings while delivering a political message.

The film begins in 1940 at the time of the second Sino Japanese war. Emperor worship and ultranationalism set the stage for the emergence of a military clique that demanded unquestioning patriotism while ruthlessly suppressing dissent.

Shigeru Nogami is a professor who has written critically about the war in China. He is arrested for "thought crimes" and taken off to prison, where he remains for the rest of the film. His wife, Kayo, is forced to carry on alone raising their two daughters (nine and twelve years old).

Her struggle to make ends meet, keep alive hope and optimism in her children, and to resist those who urge her to abandon her husband's principles (including her father) forms the dramatic kernel of the story. Yamazaki, a former student of Nogami's, bonds with the family and acts as a kind of surrogate father in his mentor's absence.

As the story unfolds the tide of the war turns, ending in the bombing of Hiroshima and the Japanese surrender. As might be expected, the outcome brings much sadness, but the mother and her daughters survive.

Yamada handles this material with great delicacy, and draws compelling performances from the actresses who play Kabei and her daughters. As a story of women coping with the tragedy of war, it ranks with de Sica's Two Women. Yamada's recent emergence onto the US film scene is an event greatly to be welcomed.
1 of 1 people found the following review helpful
HASH(0xa2aa4360) out of 5 stars A graceful representation of World War II Japan. June 9 2012
By T. Hunt - Published on Amazon.com
Format: DVD
Kabei (Our Mother) is a 2008 Japanese film directed by Yoji Yamada. It tells the story of Kabei, a mother struggling to hold her family together in a war torn Japan. Its based off of a novel written by Teruyo Nogami and, if what I've read online is correct, the events are true to the author's experiences a child.

Briefly, this is a period piece set in Japan during World War II. As the country bends, it bares totalatarian teeth to criminalize and persecute aggressively its free thinkers. Enter Shigeru: professor, writer, husband to Kabei and father to their two young daughters. Deemed a radical, he's yoked from his home and thrown in prison to serve difficult time leaving Kabei and the girls to fend for themselves. The film follows their row.

Kabei is realistically done with nil lace sans the occasional waves of subtle humor. And the humor was appreciated. One of my favorite characters, the uncle Senkichi, was acted by Japanese comedian Tsurue Shofukutei and he played the part well. To paraphrase one of the more favorable side effects of the film, I thought that the light-hearted interactions here were cleverly written and it softened the blows doled out by the film's tragic themes.

And this story is a tragedy. There's a grounded perseverance born after this family's misfortunes and Kabei unfolds their strides beautifully. I think the realism gifted by the director and his actors celebrates not only the writer's story, but also graciously represents the scores of Japanese people similarly devastated during World War II. This, to me, graduated the film from entertaining to important.

Mostly important, anyway. The only issue I had with Kabei was its ending. As mentioned before, this is a period piece, and at its conclusion we're introduced to the characters present day. I won't elaborate as I don't want to reveal any anticipated plot points, but I felt the film crossed the finish line in an overly dramatic fashion and it was kind of frustrating for me. Here I'd sat through over two hours of a gorgeous, lulling film only to have it close with a bang that felt forced. This is my opinion, (sadly amateur, I know), but I don't think movies this solid necessarily NEED prologues. Again, though, this is only my opinion and I don't think it should detract from what this film has to offer - I just wanted to explain my four-star rating.

I do recommend ordering Kabei, especially if you're a follower of the wonderful world that is Japanese cinema.

And I thank you for your time,

- t
1 of 1 people found the following review helpful
HASH(0xa2a817d4) out of 5 stars Portrait of a Japanese Family During War Nov. 9 2011
By Armond Bosley - Published on Amazon.com
Yoji Yamada's "Kabei: Our Mother" is a well-crafted adaptation of Teruyo Nogami's autobiographical memoir of her family's experience during the war years. At the beginning of the film the father, Tobei (Mitsugoro Bando), is arrested for thought crimes under the Peace Preservation Law. It is unclear whether Tobei actively opposes the war in China, or whether he is being persecuted merely for daring to write openly about it. Either way, the focus of the story shifts to the family, the mother, Kabei (Sayuri Yoshinaga), and the two girls, Natsuko (Mirai Shida) and Teruyo (Miku Satô).

One enduring image that is repeated often in the film is that of the family busily erasing the notes the father has written in the margins of his books, which are for the most part classics of German philosophy. The prison officials allow these books to brought to Tobei but his own thoughts must be erased.

The family's story is one of progressive isolation due to the father's arrest. At the same time, they are supported by a small group of loved ones. Yamasaki (Tadanobu Asano) is a klutzy former student of Tobei who bonds with the family. The aunt, Hisako (Rai Dan), helps care for the girls until she decides to give up her studies in art and return to Hiroshima. The uncle (Tsurube Shofukutei) is a surly oaf who is ultimately a lovable oaf.

The film is melodramatic in tone. Because it's an intimate portrait of family life in wartime Japan, one's mind may turn to Ozu, but stylistically it's much warmer than Ozu's films. The style reminded me of Lasse Hallström. Yamada says one of his inspirations in making this film was George Stevens' "I Remember Mama." Whatever his influences, the final result is stylistically gentle and unobtrusive.

The costumes and the set decorations are all excellent. The cinematography by Mutsuo Naganuma is warm and vivid, as if we are seeing everything that takes place in the home through a child's eyes.

The acting of the children and their rapport with Yoshinaga is remarkably good.

I found the music distracting at times, mostly because it felt cliched. It's one of the reasons I can't give the movie 5 stars. The film is a little long for such a small drama, though it has a mix of amusing episodes and heartbreaking scenes which work to keep it from being monotonous.