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Wait and See (1998)

Ah haru (original title)
Hiroshi, who has never known his father, is a graduate from a prestigious university, and has a high-flying club job in the world of stocks and shares. Happily married to a beautiful wife, ... See full summary »

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7 wins. See more awards »

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Cast

Credited cast:
Kôichi Satô ...
Hiroshi Nirasaki
Yuki Saitô ...
Mizuho, Hiroshi's Wife
Tsutomu Yamazaki ...
Sasaichi, Hiroshi's Father
Shiho Fujimura ...
Mizuho's Mother
Sumiko Fuji ...
Kimiyi, Hiroshi's Mother (as Junko Fuji)
Rest of cast listed alphabetically:
Chisako Hara ...
Mizuho's aunt
Michiko Kawai ...
Nurse
Hôka Kinoshita ...
Drunk Man
Kyoko Mitsubayashi ...
Yaeko Togashi, Sasaichi's wife
Tomokazu Miura ...
Hiroshi's brother
Takehiro Murata ...
Sawachika, Hiroshi's Partner
Keita Okada ...
Mitsuru, Hiroshi's Son
Tsurube Shôfukutei ...
Shinto Priest
Minori Terada ...
Truck Driver
...
Doctor
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Storyline

Hiroshi, who has never known his father, is a graduate from a prestigious university, and has a high-flying club job in the world of stocks and shares. Happily married to a beautiful wife, with a son he dotes on, his life appears to be the epitome of success for a Japanese salaryman. One evening, on his way home, he is accosted by a raggedy man who claims to be his father... Written by L.H. Wong <lhw@sfs.org.sg>

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based on novel | See All (1) »

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Details

Country:

Language:

Release Date:

19 December 1998 (Japan)  »

Also Known As:

Ah, Primavera!  »

Company Credits

Production Co:

, ,  »
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Technical Specs

Runtime:

Color:

Aspect Ratio:

1.85 : 1
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User Reviews

 
A fresh and powerful film with a restraint and humour reminiscent of Ozu
15 February 2014 | by (London, England) – See all my reviews

A family drama in which a successful stockbroker, married with a young son, is a accosted one night when arriving home by a course, dishevelled man claiming to be his hitherto- thought-dead father, who proceeds to invite himself to stay. The unwelcome guest is not easily waved away and gradually becomes part of the lives of the family. Meanwhile the firm the protagonist works for is teetering on the brink of bankruptcy, just as the picture of his origins his mother gave him is shaken up and thrown Into question.

The set up could be an eighties Hollywood comedy but this is something very different and far more subtle and complex. Somai resists exploiting emotional moments excessively, winning the respect and engagement of the audience rather than milking their emotions for simple catharsis, ultimately achieving a powerful and lastingly provocative film experience. Low-key writing; unobtrusive (and clearly inexpensive) camera work with little camera movement; seemingly little use of additional lighting; long takes; sparing use of close ups - all contribute to the disarmingly intimate experience of the family. This film reminded me of the work of Ozu Yasujiro. All the characters are fresh and unpredictable and there are many moments of humour and pathos, with some chickens in the yard playing an important role. Performances are top notch all the way, including the minor parts which feel like real lives glimpsed rather than decoration.

Highly recommended, and a worthy addition to any fan of Japanese cinema's viewing experience.


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