Scroll

Yasuhiko Shimizu's redemption. The man got in way over his head when he took on the Japanese remake of Cube (an international fluke), so it was crucial to come up with a follow-up that would show off his actual skill level. With Scroll, he tackles a very different genre, one he is visibly more proficient in. The irony is of course that much fewer people will end up watching this film, as Japanese dramas rarely travel outside their borders. I'm glad I gave the man another chance though, because there's some real beauty hiding in Scroll. It just takes a bit of effort.

It's not that Shimizu's take on Cube was terrible, it just added very little to the original film, which is a treasured genre classic at this point. It's not the type of film you touch unless you can add something substantial, and Shimizu failed to do that. Scroll is a much simpler film in that regard. It's one of the many Japanese dramas produced and released each year, so it's a film that comes with less expectations and anticipation. It does make it tougher to stand out, but that's where a good cast and a professional skillset come in handy, and Scroll nails that part.

In recent years, I've seen more and more Japanese dramas that focus on the problems of the early 20-somethings. There are still many films about teen issues and disease-troubled romances, but the worries and uncertainty that come with properly starting your adult life finally have their proper niche. Scroll fits in rather well, with a lead character looking for something to give meaning to his life. It may not be the most pleasant or uplifting film about the subject, but it's certainly a relevant topic that adds a bit of gravitas without having to include straight-up genre elements.

A young man struggles with his post-college life. His boss is giving him a hard time, he doesn't have a significant other and he has lost touch with his college friends. He shares his feelings online, only, that feels like shouting into a void. He's contemplating suicide if things won't improve. On the verge of jumping off the roof, he gets a telephone call from an old friend. He's a reporter for a local TV station and he just heard the news that a mutual friend killed himself. His memories of the guy are vague and he wants his help with the segment he has to shoot.

The visual presentation is what you'd expect from a film like this, though with a tad more flair than usual. The colors are quite grim and cold, but the camera embraces characters, while the lighting gives the film a warmer glow (reminiscent of early 00 dramas). There are some memorable shots and a few moments where the film goes all in on atmosphere. It's not a major departure from the average Japanese drama, so it won't convert any naysayers. However, it is still significantly better than your average drama as the quality is consistently higher throughout.

The score is limited and takes no real chances. Most of the film is without a soundtrack, so it's just dialogue and the usual Japanese urban soundscape. Apart from a few key scenes, which do get musical accompaniment. But even then you may not actually notice, as the music is very much by the numbers. That's not to say that it's bad, it's just typical piano/string work used in about 90% of all Japanese dramas. Shimizu could've made a bit more of an effort, it would've helped to further set the film apart, but it didn't bother me and the music accomplishes what it sets out to do.

Takumi Kitamura takes on the lead role and does so with great conviction. He already convinced me of his talent in The End of the Pale Hour, but it's nice to see that wasn't just a fluke. Maybe even more impressive is the supportive role of Kotone Furukawa, who is also starting to make waves. She has a mysterious aura that gives the kind of depth to her character that isn't necessarily scripted. The rest of the cast is good too, but they remain in the shadows of the two leads, who carry most of the dramatic weight.

The film takes a couple of twists and turns along the way and adds minor genre elements (there's a subplot with an arsonist), but the primary focus remains on the characters and their search for meaning. This journey of self-discovery, as life keeps throwing them curve balls, forms the dramatic core. In the end, it's not so much about life teaching you big lessons, instead, Scroll seems to suggest people settle into the life that naturally washes over them. A message that may be tougher to come to terms with for some people, but one that feels like is worth highlighting and repeating.

Scroll may not have a big international appeal, but it's a major step up from Cube and it shows Shimizu isn't just some lackluster blockbuster director. The superb performances, the stylish presentation, and the perfect balance of plot and character focus make this one of the better contemporary Japanese dramas. It's a bit of a challenge to get your hands on this film, chances are slim it'll find proper global distribution, but fans of Japanese dramas should make the effort. Shimizu may not be suited for the big budget work, he does very well with the smaller assignments.