Review by: Andrew Chan FCCA AACTA FIPRESCI
Review Date: 6th May 2014

Director: Yôji Yamada
Writers: Kyôko Nakajima (based on the novel by), Yôji Yamada (screenplay)
Stars: Satoshi Tsumabuki, Takako Matsu, Chieko Baishô

Screening Courtesy of Golden Scene.

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“The Little House” is a perfect example of why it is still Asia’s benchmark for melodrama with a historical setting. Veteran director Yoji Yamada have not only created an epic of a film, but rather a medium that will probably stands through the test of time to become an instant classic and in other words, master class. After remaking the wonderful “Tokyo Story” in similar simplicity and beauty, Yamada manages to go a step further in creating “The Little House” through the eyes of a servant in times of turmoil, war, tension and just about everything else. For me, what made this film so special is the manner how the audience slowly gets to know the characters, the setting and their situations. Before long, we are slipped into time travel as every action and movements from the actors feel as though it’s our own. Standing at 159 minutes the film can easily be a sleep fest, but this one never bore, constantly engaging and ultimately satisfying.

Haru Kuroki simply and quietly steals the show in the background of everything that is happening. As a servant of a beautiful dream-like little red house, Kuroki never overacts and her innate restrain throughout is almost admirable to endure. It is this level of simplicity and plainness that she manages to portray allows her to quietly win the audience’s attention and heart. In fact, the moment she burst into a level of intense emotions, provides the film with one of its numerous moments. In contrast, Takako Matsu is flaboyant, deliberately overacts and a direct opposite to Kuroki. It is precisely this out-going personality that is not often seen in Japanese women back in the times that makes her stand out of the pack. Chieko Baisho playing the much older version of Kuroki’s character is wonderful in her slow and mindful movements. In a few scenes, she manages to come up with the cauldron of mixed emotions, years of repressed regrets and buried emotions that stays with the audience long after the credit rolls.

All in all, “The Little House” is simply one of the best film of 2014 and easily another masterpiece in director Yamada’s long filmography. What makes this film different is the understated way it goes about every little and tiny details. From the simple garden scenery to a level of detail in every corner of the house’s decorations, these are all tiny aspects of touches that make “The Little House” so memorable and warm. It is almost sad to say that it will be decades before Hong Kong / China can make these kind of films, with that being said, it is almost of regret that a director of Ann Hui’s caliber can most probably pull something off in grand scale, but with the state of the industry and given situations, it is highly unlikely she will ever see an epic budget on a little homely story. Still, “The Little House” proved one thing, that is lavish budgets does not have to go toward action blockbuster events, as little dramatic story can be just as successful. (Neo 2014)

I rated it 10/10

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