Perfect Days (2023)
Director: Wim Wenders
Starring: Koji Yakusho, Tokio Emoto, Arisa Nakano, Yumi Aso
Primary genre: Drama
Hailed as a stoic masterpiece about the little things, Wim Wender’s latest finds the German director leaning towards his best and worst tendencies. “Perfect Days” is exactly a vehicle which pseudo cinephiles pretend to love due to its superficial take on the ideal daily lifestyle. Its 4:3 aspect ratio is enough to highlight that like a disconnected Hirayama from an increasingly automated world, the film is isolating itself from the seduction of modern cinematic presentations too. The lack of score further emphasizes this; the analog musical taste of our likeable toilet cleaner accompanying us in his weekly routine, a different track each day.
From an outsider perspective, Hirayama seems content (played with remarkable constraint by Koji Yakusho) in a thankless job. In typical Japanese fashion, he gives it all and outside of it, he manages to incorporate his own aesthetic in his home and choice of hobbies. Initially, we think that perhaps a catalyst of some sorts will enter the grand scheme of things to ultimately, allow Hirayama to shine for the audience. Yet, Wenders is keen to showcase the same routine several times with only the minimum of societal interaction which does not result in the growth of the main (and perhaps the only important) character.
Its social commentary attempts regarding the newer generations (in the form of Hirayama’s younger colleague) are surprisingly heavy handed; what could have been an interesting study between generational differences and the exploration of why someone’s limited in scope life aspirations (i.e., being content) can be something we should all strive for are reduced to anonymous and minimal verbal exchanges that do not mean anything really. Hirayama looks, nods and carries on even in the rarest of circumstances where he as a middle age man could offer something to those around him.
“Now is now”
Wenders believes in roboting behavior where blind obedience in weekly routines exist and what better example could be served than the hardworking Japanese? While Hirayama can be content with this late middle age lifestyle (and of course no one can deny that he should not be), him existing in a social vacuum mostly by his own choice does not make for a compelling story. We know nothing about his family, friends, past, why he does what he does and why he likes what he likes. It’s all in the atmosphere and in the viewer’s discretion to dissect such notions which lead to nothing. This type of cross-sectional information limits Hirayama to just a likeable, two-dimensional individual with no useful insights or wisdom to share. Imagine if “Wall-E” (2008) was a human without the third act and EVE set in Tokyo and you get the broader picture.
Although towards the second half, Wenders and co-writer Takuma Takasaki manage to introduce some minor elements of intrigue through extending cameos, these are far and in-between tedious shots of toilet cleaning and do not carry enough emotional catharsis. Films of similar content like Masayuki Suo’s “Shall We Dance?” (1996), Sofia Coppola’s “Lost in Translation” (2003) and Kogonada’s “Columbus” (2017) might lack explicit drama but are smart enough to insert some sort of laconic characterization for the audience. Wenders shoots across multiple locations and makes an effort to present Tokyo not as this vast hybrid of new and old, but as a fusion of millions of individuals living together in harmony where a walk in the park can be rejuvenating for the human spirit. In this regards, he succeeds demonstrating some beauty in his movie through its simplicity (under the vivid cinematography of Franz Lustig).
“Perfect Days” is far from perfect. It tries too hard to talk about life without making a compelling case for it. If you are seeking dramatic depth, look elsewhere as Wenders combines his static way of storytelling from “Wings of Desire” (1987) without relying on a meaningful script. If this is the sort of thing that keeps you going, more power to you. Only for the hardcore Wenders fans.
More like “Toilethog Days”
+Simplicist film
+Excellent soundtrack
+Tokyo is nicely shot
+Likeable lead
-Boring character
-No dramatic depth
-Repetitive
-Not as smart as it think it is