No need to be confirmed for a etymologist understand the origin of the word "drama" as used by Japanese to refer to their TV series. Pour autant, Karei naru Ichizoku mérite sans doute, plus que toute autre série de ma connaissance, d’être apparentée aux genres classiques des drames bourgeois et romantique. S’il n’en reprend pas tous les codes, il s’en inspire clairement pour proposer l’histoire de l’affrontement entre un père et son fils, au sein d’une grande dynastie bourgeoise des années 1960. En me lançant dans ce drama, il me fallait passer par delà un scenario, au travers duquel je craignais de retrouver l’une de ces séries familiales francophones que je fuis à toute jambe chaque été. Passionné d’Histoire, la perspective de plonger dans l’époque Japan's post-war convinced me to try my luck. I could only congratulate myself, for Karei naru Ichizoku did indeed discover in detail the economic viewers forced march led by Japan's governing elites. In this case, Manpyo Daisuke (Kitaoji Kinya) is the head of a bank of average size, threatened by a movement of concentration to create, by force if necessary, a small panel of large banking institutions.
At the same time, his eldest son, Manpyo Teppei (Kimura Takuya), aims to revolutionize l’industrie sidérurgique japonaise en modernisant les hauts fourneaux d’antan. Cette période d’intense agitation économique, où les manipulations politiques orientent les décisions financières, où les intérêts des modernes se heurtent au conservatisme des anciens, est parfaitement bien rendue. On se trouve ainsi plongé au cœur même d’un machiavélisme politico-économique qui ne s’embarrasse plus d’idéaux chevaleresque tombés en désuétude. C’est d’ailleurs là l’un des premiers points d’opposition entre un père, prêt à toutes les compromissions et les trahisons pour garder la main mise sur son empire, and a son by his modernist know, but whose moral values are obsolete in this new era. They make him a true leader of men, but above all a being who does not accommodate the cynicism of those around him. The confrontation between the two men is the heart of the drama. It's a real clash of values that the viewer supports. Behind the facade of respectability of a great dynasty bourgeois patriarch imposes indeed his family a lifestyle detestable, where his assistant and mistress needed in private to his lawful wife and children.
The humiliation it causes to each other, with the concurrence of the head of family, of course, are unbearable for Manpyo Teppei disgusted ... and disbelief. For the struggle between the two veiled men is totally unbalanced young Teppei not understanding why his desperate efforts to please his father meet only the rejection of a reptilian Manpyo Daisuke seems to enjoy the failures of his son, when he n 'is not the direct cause. Over the episodes, the reasons for the tragedy will emerge gradually, along with the family and those around him will sink more and more into darkness and chaos of events. The other characters also deserve more lines of comments with regard to their performance. A rich and impeccable casting makes it possible to avoid any false note. However, this column will do it no more echo, not laziness, but because at the end of this drama, the confrontation between the father and son will obscure any other memory of this great series.
---
8 / 10: Somehow I really enjoyed That One. Personal fave.
0 comments:
Post a Comment