Film offers serene meditation on beauty, meaning in everyday life
Wim Wenders’ “Perfect Days” is set among the crowded skyscrapers of Tokyo and the quiet urban parks that Hirayama (Kôji Yakusho) traverses daily in his job cleaning public toilets. But where the movie resides, really, is Yakusho’s face.
In this gently sublime film, Hirayama steps outside his apartment each morning and gazes up at the sky with a smile radiating gratitude. He says little throughout the course of Wenders’ quiet, quotidian film. Little happens. Yet Yakusho’s warm presence speaks volumes in a film where less can mean profoundly more.
Wenders, the 78-yearold German filmmaker, has long had a preference for troubled loners. Think of Harry Dean Stanton’s dusty drifter in “Paris, Texas” or Bruno Ganz’s terminally ill man in “The American Friend.”
But the Wenders movie that “Perfect Days” most recalls is “Wings of Desire,” where melancholy angels watch over Cold War-era Berlin and speak of testifying “day by day for eternity.” “Perfect Days” has no such supernatural element, but its gaze is likewise attuned to the beauty and meaning of everyday living.
Each morning,
Hirayama wakes, puts on his blue sanitation jumpsuit and neatly drapes a towel around his neck. He drives his van from public toilet to public toilet, where he takes remarkable care in his work.
Hirayama’s days are rigorously routine but lively with variation. While driving up and down the highways of Tokyo, he selects a cassette tape from a rack above the sun visor. Patti Smith, Lou Reed, the Kinks, the Animals or Nina Simone play as he rides. Usually, Hirayama, analog through and through, is driving against the traffic.
He’s a lover of trees, and each day on his lunch break takes a photo of the branches above him as light pours through. With the care of a surgeon, he plucks a tiny seedling, places it in a paper sack and adds it to his nursery at home. At night, he reads Faulkner.
Eventually, a niece (Arisa Nakano) turns up, followed by Hirayama’s estranged sister (Yumi Aso). But “Perfect Days,” which is nominated for an Oscar for best international film, is uncluttered by plot or exposition. Instead, we’re invited to ponder Hirayama’s serene, monastic existence — to admire the joy he finds in the mundane and the attentiveness he gives to the things he values.
Wenders, who co-wrote the film with Takuma Takasaki, is a longtime admirer of Japan; in his 1985 documentary “Tokyo-Ga,” Wenders traveled to Japan to pay homage to the great filmmaker Yasujiro Ozu. Much in “Perfect Days” radiates with a similar spirit of minimalistic wisdom.
That’s a great credit to Yakusho, the beloved Japanese actor, whose soulfulness fills the empty spaces of “Perfect Days.” It may sound like an art house enterprise, but anyone could connect with the film. My 8-year-old daughter accompanied me on my second watch; that she hung with the movie from start to finish is because Yakusho’s Hirayama is a character to love.
Wenders was initially drawn to the project by Tokyo’s exquisite public toilets, which are light years more artfully designed than the few you find in most U.S. cities. In that way, they’re a symbol of civic good. And so is Hirayama, who in his life and work, in plant life and cassette tapes, fully encapsulates the definition of custodian.
MPA rating: PG (for some language, partial nudity and smoking)
Running time: 2:03
How to watch: In theaters