REVIEW: Perfect Days
originally published on Letterboxda film that reminded me of my father. men from a certain age get engrossed in their habits, seeking to be moved by the things they choose to be moved by and not by what others choose for them.
Hirayama (Yakusho Kōji) is childless, content with his job as a public restroom cleaner, married to his weekly routines, and leaves his home smiling at the sky above him. he’s content to observe, smiling privately about the colors of the world, the dancing reflections of sunlight, the idiosyncrasies of others. when life inevitably interrupts his rhythm, he’s at a loss of what to do. a man of few words and a small collection of actions starts to show frustration, confusion, and fear in solitude. he becomes sleepless; he has no will to revisit sweet moments with his niece; he searches for peace via Peace-brand cigarettes.
in contrast, whenever he opens up to interact with others, a childlike wonder and innocence spills out. he happily cheers up his niece and a stranger alike; he haphazardly hugs his sister; he cries at his shortcomings. he smiles about the small bits of attention provided by women of all ages. he embraces a game of tic-tac-toe with a stranger he may never meet. without much trying, he brings joy to others. the idea of the pain they may bring him frequently stops him from searching for joy.
this is maybe one of the most beautiful digitally-shot movies i’ve ever laid eyes on. Wim Wenders brings his signature touch of color back to Tokyo, which may be the perfect city for him to film, for the first time in decades. using naturalistic lighting, he uses the sodium glow of the city, the glass reflections on sunny days, and the paradox of grow lights to paint his frames. the boxed-in 1.33:1 frame then makes for a narrow window in which to see the utter beauty of the world.
music remains strictly diegetic too—except for brief bits of sound design during dream sequences—which admittedly can feel a bit obvious but represent a universal truth. it ultimately fits with the themes of the old meeting the young, the conservative meeting the curious. (as an aside, it’s certainly refreshing to see a film about a relatively conservative old man approaching youth and the recursiveness of life with generous interest, not the usual reactionary grumpiness.)
as Wenders can also be, some ideas and interactions are a bit on the nose. but what makes them great are the simplicity and sincerity with which he brings them. very few words and small exchanges feel both universal and intimate, between just a couple of characters. it also allows for the small flashes of contradictions that come along to make your heart completely sink. one of the final moments exemplifies all of this in one extended, shattering sequence.