Men Who Stare at Streets
Yusuke looks out of the window. Accompanied by the voice of his deceased wife, houses, trees, and the sea fly past him. He doesn’t notice that there is another person sitting in the red Saab 900 Turbo in front of him as he fills in the gaps in the sentences with his own words. Misaki will soon drive him to a place where he can finally find himself.
Last night, I saw Ryusuke Hamaguchi’s Drive My Car for the second time. The Oscar-winning Best International Feature Film is based on the short story of the same name from Haruki Murakami’s 2014 book Men Without Women and tells the story of two people whose fateful encounter no one could have foreseen—least of all themselves.
Yusuke is a successful stage actor and director who is married to the mysterious Oto, a beautiful playwright with whom he shares a peaceful life despite a painful past. When Oto suddenly dies, Yusuke is left with unanswered questions and the regret that he could not really understand her—nor did he want to.
Two years later, still struggling with Oto’s death, Yusuke accepts an offer to direct a production of Uncle Vanya in Hiroshima. He drives his beloved fire-red Saab 900 Turbo to the big city in the west, where, upon arrival, he learns to his surprise and disappointment that, for legal reasons, he is forced to let Misaki, a young chauffeur who hides her own traumatic past, drive his car.
Rehearsals progress, and eventually Yusuke and Misaki develop a routine, with the Saab increasingly becoming an unexpected confessional for both driver and passenger. Less pleasant for Yusuke, however, is the decision to cast Koji, a handsome young television actor with an unwanted connection to his late wife, in the lead role.
As the premiere approaches, tensions between the cast and crew grow, and Yusuke’s increasingly intimate conversations with Misaki force him to face uncomfortable truths and uncover haunting secrets left behind by his wife.
I’m glad I’ve now seen Drive My Car for the second time, because with each new encounter I have different expectations of the characters, whose thoughts and actions seem to reflect my understanding of human interaction.
The character of Misaki, for example, now vaguely reminds me of someone I met recently. Her sober, disarming, and astute manner invites me to want to learn more about her. What does she think? Why does she think that way? And who—or what—made her who she is today?
The flowing conversations in Drive My Car are like intimate dances whose intention is to build bridges to the other person—brick by brick, meter by meter. With each new day that dawns in Hiroshima, there is a chance that two people will open up a little more to each other, only to be rewarded with new insights, no matter how painful they may be. And these insights apply not only to the other person, but often to myself as well.
Only those who have not even attempted to understand Drive My Car would describe it as calm. Every scene is seething with tension: Yusuke, who cannot forgive himself for his wife’s death and searches for answers that may not even exist; Misaki, whose observations only become words of trust when she assesses the chances of further hurt as low; and Koji, whose search for meaning can only save others, but not himself.
Eiko Ishibashi’s selectively used music dispels the absolute silence at just the right moments, which is otherwise interrupted only by glances, touches, and conversations. Extensive tracking shots across the autumnal Japanese backdrop make the characters appear as if in a diorama, their desires, hopes, and dreams seeming small and lonely.
A meta-level runs through the entire film: the story of Uncle Vanya, who is confronted with his life and his missteps in Anton Chekhov’s world-famous play. The character of Vanya represents someone who has spent his life working toward something that never came to fruition. It is a reflection on time and emotions wasted—a theme that both Yusuke and Misaki grapple with throughout the film, as both deeply regret their past relationships.
Drive My Car is mature in the truest sense of the word. Its characters have shed all childishness, all banality—indeed, all traces of joie de vivre—and try, with their last ounce of strength, to maneuver safely through the thicket of painful memories, only to have to admit in the end that they cannot drive away from the past, not even in a red Saab 900 Turbo.