Finally, after years of torn shirts due to the continuous disregard that was interpreted as outrages against the art of the written word, fans of Haruki Murakami can breathe easy. The adored author of him has finally been recognized in our country with the great award that rewards his particular discipline, the Princess of Asturias Award for Literature.
The occasion asks to be celebrated with the reading of one of his many works, although here we also have to cover the quota with a film when there is no time to pick up the book. Even without a great abundance of adaptations of his books, the ones that have been have been significant enough and can be rescued via streaming for end Murakami’s day in a big way.
‘Tokyo Blues’ (‘Noruwei no mori’, 2010)
Address: Tran Anh Hung. Distribution: Rinko Kikuchi, Eriko Hatsune, Kiko Mizuhara, Ken’ichi Matsuyama, Kengo Kōra.
Probably the most fans appreciate this emotional tape more for being one of the most exemplary in terms of transferring the book to the screen, even though the plot is taken with some freedom and fidelity is reduced to recreating the spirit of its characters and its story. All in all, Tran Anh Hung’s adaptation is one of the ones that most maintains the essence of what Murakami was trying to convey.
References to the Beatles, looks to the past, dramas and regrets. ‘Tokio Blues’ creates painful weapons from melancholy and nostalgia, carefully developing the poignant emotions that this turbulent story arouses. Formally acceptable, achieving much of his emotional ambitions through superb score by Jonny Greenwood.
See in Filmin
‘Burning’ (‘Buh-ning’, 2018)
Address: Lee Chang Dong. Distribution: Ah In Yoo, Steven Yeun, Jun Jong-seo, Gang Dong-won, Seung Geun Moon.
Ironically, the best films based on Murakami’s works don’t just take some of his short stories, they turn them into epic full-length dramas. It may sound strange to talk about epic in the hidden tension of Lee Chang-Dong’s film, but its dimensions are truly remarkable and the completely extraordinary results.
With some great performances, starting with a superb Steven Yeun in his antagonist in the form of the disturbed Cayetano, ‘Burning’ is a relentless exercise in atmosphere that grabs you as soon as you enter. For some it may be too self-absorbed, but the slow-burn thriller atmosphere is fantastically refined and makes for a great film about the inevitable.
See on Filmin and for rent on Amazon or on Apple TV | Criticism in Espinof
‘Drive My Car’ (‘Doraibu mai kâ’, 2021)
Address: Ryûsuke Hamaguchi. Distribution: Hidetoshi Nishijima, Masaki Okada, Reika Kirishima, Toko Miura, Dae-Young Jin.
An even more epic film in its drama, although it appears buried between layers of contained emotions and metaphorical theatricality, which gets the most out of the short novel it adapts. ‘Drive My Car’ is not only the best film to come out of a Murakami work, but it is one of the best movies of recent years with a truly unique narrative personality.
Ryûsuke Hamaguchi’s cinema draws on very slow and even stretched conversations in a way that challenges the conventional viewer. But in them resides an incredible beauty that is wildly imperfect and therefore very human. ‘Drive My Car’ takes it to the most sublime extreme, offering very powerful existential reflections through the most mundane simplicity. Perfectly designed, like a car with a retractable roof to support the hand that holds the cigarette.
See in Filmin | Criticism in Espinof
In Espinof | Why Literary Adaptations Shouldn’t Be Totally Faithful