Sweet Bean

This article is about the 2015 Japanese film. For the topic, see red bean paste.
Sweet Bean

Theatrical release poster
Japanese あん
Hepburn An
Directed by Naomi Kawase
Screenplay by Naomi Kawase
Based on An
by Durian Sukegawa
Starring Kirin Kiki
Release dates
  • 14 May 2015 (2015-05-14) (Cannes)
Running time
 113 minutes
Country Japan
Language Japanese
Budget ¥234 million (Japan)

Sweet Bean (Japanese: あん Hepburn: An)[1][2] is a 2015 Japanese drama film directed by Naomi Kawase. It was selected to open the Un Certain Regard section at the 2015 Cannes Film Festival.[3][4] It was also selected to be screened in the Contemporary World Cinema section of the 2015 Toronto International Film Festival.[5]

Plot

The film centres around Sentaro, a middle-aged man who runs a small dorayaki shop frequented by locals and secondary-school pupils. When he puts up a notice saying that he is looking for a co-worker he is approached by Tokue, a lady in her mid-seventies, who states that she has always wanted to work in a dorayaki shop. Sentaro initially rejects her application, afraid that the work would prove too much for the old lady who, moreover, has somewhat deformed hands. He is swayed, however, when he tries Tokue's bean paste. Its taste and texture are far superior to that of the factory-made bean paste Sentaro has been using. Sentaro asks Tokue to start making bean paste with him, revealing that up till now he did not actually like his own product.

Business begins to thrive, and very soon Tokue also starts serving customers and packaging dorayaki. When customers realise that the deformities to Tokue's hand were caused by leprosy they begin staying away, however, and Sentaro is forced to let Tokue go. Wakana, a school girl whom Sentaro has befriended, eventually suggests that they go and visit Tokue at the sanatorium where she and other patients were forced to stay until the 1996 repeal of the 1953 Leprosy Prevention Law. Sentaro feels guilty as he was not able to protect Tokue against the prejudice of their customers, but she assures him that she is grateful for the time she was allowed to spend at the shop.

When some months later Tokue dies, she leaves Sentaro her own bean paste making equipment, as well as a cassette recording intended for him and Wakana. In it, Tokue stresses that a person's worth lies not in their career, but, simply, in their being, and that joy comes from taking in the sensory experiences of the world that surrounds us.

Through most of the film, Sentaro had been a man weighed down by his past. As Sentaro reveals in a letter he sends to Tokue when she no longer works for the shop, he once seriously injured a man in a pub brawl, something of which he is still ashamed. He was subsequently imprisoned and had to pay a large reparation payment to the victim. Physically, Sentaro is tied to the dorayaki shop, which is owned by the loan shark that furnished the money for the reparation payment; money which Sentaro has not yet been able to pay back. Yet at the end of the film Sentaro is seen selling dorayaki from his own stall in the local park, clearly more at ease with his existence.

Cast

Title

For its debut at the Cannes Film Festival, the film was promoted under the title Sweet Red Bean Paste. At other festivals — and for the Australian release — the original Japanese title An was used. The subsequent international theatrical release title for the film became Sweet Bean.[6][7]

Themes

The film centres primarily around the themes of freedom and joy, suggesting that by embracing our sensory experiences we may attain richer, more rewarding lives. As Deborah Young writes, "The undercurrent that runs through the film is a message to learn from nature and enjoy the wonder of life moment by moment, no matter what hard knocks you're dealt".[8] This aspect of the film ties in with the director's earlier work, "A consistent underlying concern of [which] has been the unspoken bond between man and his environment".[9]

Reception

The film has grossed ¥234 million in Japan.[10] The film received generally positive notices, with a 60 out of 100 rating from Metacritic across 16 reviews[11] and a score of 88% "Fresh" rating at RottenTomatoes across 41 reviews.[12] The film is a Critic's Pick by the New York Times, with the NYT's Glenn Kenny scoring it at 90 out of 100, and judged that "The movie, beautifully shot and acted, earns its ultimate sense of hope by confronting real heartbreak head-on, and with compassion".[13] The Guardian's Peter Bradshaw, however, scored the film at 2 out of 5 stars, complaining that "Despite some touching moments, and earnest performances, I must confess to feeling exasperated by the sentimentality and stereotype being served up".[14]

References

  1. ↑ http://www.kinolorber.com/data/presskit/Sweet%20Bean%20press%20kit.pdf
  2. ↑ "Sweet Bean". U.S. Indie News, Filmmaker Interviews, Film Festivals, Movie Reviews - Ioncinema. Retrieved 13 March 2016.
  3. ↑ "Complement to the Official Selection". Cannes Film Festival. 23 April 2015. Retrieved 23 April 2015.
  4. ↑ "Screenings Guide". Festival de Cannes. 6 May 2015. Retrieved 8 May 2015.
  5. ↑ "Sandra Bullock's 'Our Brand Is Crisis,' Robert Redford's 'Truth' to Premiere at Toronto". Variety. Retrieved 18 August 2015.
  6. ↑ "Sweet Bean". Retrieved 20 June 2016.
  7. ↑ "Sweet Bean in UK cinemas and on DVD, Blu-ray & VOD in August - Cine Outsider". Retrieved 20 June 2016.
  8. ↑ Deborah Young (14 May 2015). "'An': Cannes Review". Hollywood Reporter. Retrieved 14 February 2016.
  9. ↑ Guy Lodge (May 14, 2015). "Film review: An". Variety. Retrieved February 14, 2016.
  10. ↑ Kevin Ma (18 June 2015). "Idol anime is surprise Japan box office hit". Film Business Asia. Retrieved 18 June 2015.
  11. ↑ "Sweet Bean". Retrieved 15 August 2016.
  12. ↑ "Sweet Bean (An)". Retrieved 15 August 2016.
  13. ↑ "Review: In 'Sweet Bean,' a Delicacy Unites a Vendor and an Old Woman". The New York Times. 18 March 2016. Retrieved 15 August 2016.
  14. ↑ Bradshaw, Peter (14 May 2015). "An review - Naomi Kawase's dessert-filled film is too insipid to swallow". Retrieved 15 August 2016 – via The Guardian.
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