In Tokyo, Hirayama’s existence is made up of routines. Every day, he visits public toilets, which he cleans carefully. Back in his modest apartment, he takes care of his plants, develops his photos, reads while listening to music, falls asleep… Some evenings, always the same, he eats at the local noodle shop, then has a drink in a small bar where he has his habits. Hirayama ultimately leads a simple life, but full of fleeting beauties, fleeting sorrows and moments of serenity. He is the protagonist of the luminous Perfect Days (The perfect days), by Wim Wenders, best actor prize at Cannes and finalist for the Oscar for best international film.
This new feature film is important in the filmography of Wim Wenders. Indeed, Perfect Days sees the director of Paris, Texas and Wings of Desire reconnect with inspiration in fiction.
Because, it must be said, since So far, so close!, in 1993, this aspect of his cinematographic creation most often disappointed, his American co-productions in particular. On the other hand, the German filmmaker shot several remarkable documentaries in parallel, the bold form of which left no doubt as to the visionary talent of their author: see Buena Vista Social Club, Pina or the recent Anselm.
But in short, discover Perfect Days, it’s a bit like meeting an old friend. The poetry of everyday life, the attention to significant details, the subtlety in everything… As in his most successful works, and this is one of them, Wenders shows rather than explains.
And again: what the filmmaker presents on screen only takes on its full meaning gradually.
Moments of grace
Thus the portrait of Hirayama is clarified in small touches, through not the repetitions, but the small variations of his routines. Episodic, the screenplay co-written by Wim Wenders and Takuma Takasaki is built around chance or forced encounters: with an undisciplined novice colleague, with a runaway niece, with a distraught stranger, among others.
And each of these narrative “tete-a-tetes” becomes, casually, an opportunity to learn a little more about Hirayama. Hirayama who, paradoxically, listens and observes more than he speaks…
This attitude is reflected in the film, obviously. Moreover, rarely has Wim Wenders’ gaze been so sensitive and precise in its capture of ephemeral moments of grace. The latter arise unexpectedly, organically, and are generally photographed by Hirayama, whose eye replaces that of the filmmaker.
Of all the scenes, Kōji Yakusho (The eel, Priest, Tokyo Sonata) is extraordinary in the lead role. His performance award is well deserved.
Filmed very closely at the end, the actor manages, without saying a word, to convey a whole range of contradictory emotions on his face. This plan will remain. A whole life passes by… A simple, but full life.