Kore-eda’s “Shoplifters”: What Was Lost in Translation
January 17, 2019 § 2 Comments
Longtime readers of Under the Hollywood Sign will remember my articles on Hirokazu Kore-eda’s previous films and the linguistic and cultural confusion they engendered. Some of the problems stemmed from a lack of understanding of Japanese culture by American critics, while others were caused by Kore-eda’s English subtitles.
An example of the latter occurs in “Nobody Knows,” where the criminally neglectful mother refers to herself in English subtitles as “Mother.” Although in Japan it’s standard to refer to oneself by familial title–mother, father, brother, sister–it isn’t in western languages. This led to one American critic using “chillingly” in describing the mother’s perfectly normal Japanese. Clearly, “Mother” should have been translated as “I.”
In light of this, I was relieved that “Shoplifters” has much better subtitles–at least until a key scene near the end. In it, Osamu Shibata, the head of a fictive family of societal throwaways says–according to the English subtitles–to Shota, the boy he has lovingly fathered, “From now on, I’m not your dad.”
Unfortunately, that’s not what he says in Japanese. As spoken by the actor Lily Franky, that pivotal line is: “So, I’ll go back to being your uncle.”
What difference does it make? For starters, what seems to be Shibata’s rejection of the boy he bestowed with his own first name (both Osama and Shibata being pseudonyms) is anything but. He desperately wants to remain a part of Shota’s life, as Kore-eda makes clear when Shibata subsequently runs after the bus Shota is riding. In fact, it is Shota who rejects Shibata by not looking back, though when he is out of sight the boy whispers, “Dad.”
At a reception before the recent Golden Globes Foreign Language Symposium, I broached the translation with a member of Kore-eda’s production team. She told me that they had discussed the line but decided not to translate it literally because they assumed the word uncle would confuse non-Japanese viewers. “He’s not really his uncle,” she said, and was surprised when I told her that avuncular relationships among people unrelated by blood are common in America and Europe, too.
“Shoplifters” is a masterpiece, and highly deserving of the Palme d’Or it won last year at Cannes. But Kore-eda, who speaks no English, needs a subtitler who understands cultural nuance as well as Japanese and English. There’s so much more to languages than words.
On Directing Children: Hirokazu Kore-eda Reveals His Secrets
January 13, 2019 § 2 Comments
Last weekend’s pre-Golden Globes Foreign Language Symposium at the American Cinematheque, always an interesting event, was even more revealing than usual, thanks to Hirokazu Kore-eda’s comments about his film “Shoplifters.” Asked by moderator Mike Goodridge about how he created the film’s family from his ensemble of actors, Kore-eda, speaking through an interpreter, said “The first day of the film was the summer sequence….I watched them as they interacted on the beach…I was inspired by this short scene that we took and built the script from there through my imagination.”
That Kore-eda’s beautiful film–about an unrelated group of children and adults on the margins of society who to live as a loving family–could have been made without a pre-written script elicited enthusiastic applause. One certainly couldn’t tell, as “Shoplifters” has structure and coherence. But it also has looseness and spontaneity, particularly in the scenes with children.
It was Alfonso Cuarón, nominated for his own film with children, “Roma,” who drew Kore-eda further into a discussion of his technique. (I had seen the two directors beforehand in the wings speaking avidly, so I wasn’t entirely surprised when Cuarón shifted from nominee to interviewer.) About the scene in which the boy and girl run home through monsoon rains, nearly interrupting an intimate moment between their fictive parents, Kore-eda said that he thought of adults’ scene after filming the children running through the rain. He also revealed the secret of his child actors’ naturalistic performances: never having them read a word of the script. Instead, Kore-eda said, he explains each scene, then gives the children their dialogue, line by line. The result in “Shoplifters” is the gold standard for child actors: performances in which they don’t seem to be acting at all.
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