The Nagasaki-based television documentary “Tora-san in Goto” is a two-decade long portrait of an individual, but as Masaru Oura‘s film develops over the years, it becomes a tale of family and human relations.
Tora-san in Goto is streaming on JFF Theater
Toru Inuzuka makes noodles for his family-run company on the island of Goto, with family being the operative word. Every morning, each of Toru’s seven children wake in the early hours to start work on making noodles before they go to school. Known locally as Tora-san, he wants to instill strong values into each of his children, as well as ensure the business is in safe hands for the future. But as each of the children reach adulthood, they become their own people and have their own ambitions. Debates about whether to stay on the island and start their own career are offset against loyalty to their father who is strict and harsh. But he also wears his heart on his sleeve and, despite his methods, is a dedicated father who only wants to best for his children.
Starting in 1993 and filming the family on-and-off for 22 years until 2015, a lot obviously develops in that time. Having returned to Goto early while at college due to family illness himself, Toru doesn’t want to see his children leave. The eldest son and daughter both elect to remain on the island rather than go to college, starting their own jobs, but close enough to still help with the noodle-making process.
But it is the second daughter, Hanae, who is most strong-willed and causes Toru the most grief. Never being a fan of the work, she states she hates it early on, and nothing changes on reaching nineteen; leaving for Kyoto with the train to be a photographer. Toru is visibly upset by her decision, but chooses to hide behind false insults and accusations. Their struggle becomes the key story of Oura’s work.
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Originating in the early 90s, this starts more as home video footage, as Oura spends time with his subjects. There is an initial awkwardness and not wanting the cameras to keep rolling, but as they get to know the director, they become more and more open, with Toru openly berating his youngest son to the point of tears. But within moments, he is also shown consoling him and putting an end to any animosity.
As with many Japanese television documentaries, Ken Matsudaira‘s narration is simplistic in its description of events. Here it is the perfect accompaniment to add context to the scenario. Out of context, Toru can come across as a reckless alcoholic who abuses his children. But that couldn’t be further from the truth. On the film’s conclusion, we see seven adults who are happy in their daily lives, starting their own families.
“Tora-san in Goto” shows that family is a struggle. It is a constant battle of wills, having to deal with others while trying to still live your own life. It also requires dedication. A promising baseball player in his youth, Toru gives it up to return to his hometown and remain with his family. Toru handled the stresses with alcohol, which would inevitably cause his demise. He can come across as a bitter man, but on reflection, he is happy to see all that his family has achieved in life.
Wanting to see his children do what they love, he has given them the foundations to achieve their goals with hard work. He hates to see Hanae leave her hometown, but couldn’t be prouder when her first photobook is released.
