Ryusuke Hamaguchi’s film ‘Drive My Car’ in one word is sublime. It explores love, loss and regret. So many works before it have glossed over this subject in a trivial manner. Not this one. Roger Ebert once described cinema as a “machine that generates empathy.” Audiences are allowed a window into the unlikely connection between a widower and his driver. It is an unusual bond but as the story naturally develops we see a connection between these two emotionally damaged souls. That’s the beauty of this film. It is not forced fed stereotypes. It is a story that plays out to almost three hours but don’t be turned off by the movie’s length. You are allowed to grow along with the characters and that is why this Japanese film is nominated for a best picture and best international feature at this year’s Academy Awards.
Yusuke (Hidetoshi Nishijima) is a theater director and accomplished actor. He is married to a screenwriter named Oto (Reika Krishima). They appear to have a loving relationship. She even gets inspiration for new stories after having sex. She begins to narrate a new one right after climaxing. Yusuke enjoys driving around in his bright red Saab while listening to audio tapes that Oto records for him. It is a fascinating look at the creative process of such a successful couple. Fast forward two years after tragedy strikes. Yusuke takes a job at an arts festival in Hiroshima. He is going to direct a new revival of ‘Uncle Vanya’ by Anton Chekhov.
One of the stipulations of taking the job is that the festival assigns him a personal driver. She is a quiet 20-something woman by the name of Misaki (Toko Miura). At first Yusuke is reluctant with this new arrangement. He likes the freedom of driving and listening to his audio tapes in his red Saab. He gives her a chance and she turns out to be an excellent driver. It is no surprise that these two individuals from different backgrounds become good friends. That is the magic of this story. It shows that when you probe the impenetrable surface you find somebody’s true self. It is not until much later in the film that we discover the guilt that numbs both of them to the core.
Yusuke arranges to live about an hour away from the theater. This allows the red Saab to act as it is another character in the story. The car is symbolic of transition, moving forward and a confessional for the two leads. While this friendship is developing, we see Yusuke cast his play and go through the arduous task of rehearsals. He even gives a young man a starring role in the play named Koji (Masaki Okada). It is an odd casting decision. To say anymore would give away spoilers but it also plays out to help Yusuke deal with his grief in his own way.
One of the unexpected standouts of the cast is an actress, Lee (Yoo-rim Park) who delivers a powerful soliloquy through Korean sign language. It is a tender moment that goes so well with how Yusuke is dealing with grief. The juxtaposition of Yusuke’s real life and the one he plays on stage is incredibly moving. Hamaguchi shows us that we are playing roles in life at work, at home and out in public. ‘Drive My Car’ reminds us to play those roles with gusto. For the patient cinephile, this film will reward you greatly.
