It
was a multiple murder New Yorkers can well understand. It directly involved
the struggle to buy and keep possession of an under-valued luxury condo.
However, darker, more passionate motives also contributed to the deaths of four
unrelated people in unit 2025. Eventually, an intrepid writer will mostly
reveal the truth in Nobuhiko Obayashi richly complex mystery Reason (a.k.a. The Motive), which
screens during the Japan Society’s Obayashi retrospective.
As
the super explains during his many interviews, the unit in question always had
high turnover. On the night in question, they assumed the rather unsociable
Koito family were the victims, but they had secretly moved out. Suspicion
therefore focused on Naozumi Ishida, who had purchased the condo through a
repossession auction. We know from the in media res opening, the weary Ishida will
eventually turn himself into the authorities. At his request, Nobuko Katakura, the
daughter of the innkeepers reluctantly hosting the fugitive will bring the
disbelieving local copper.
Throughout
her investigation, the journalist will piece together a deliciously complicated
story, enveloping the Koitos, the Ishidas, several sets of neighbors, and even
the Katakuras. Of course, there are four dead bodies to explain: one who fell
from the balcony of number 2025 and three others found brutally murdered
within. Yet, aside from the crime scene, there is no obvious link between the
apparent strangers. This is all quite disturbing to the residents of the
two-tower complex, but despite his own family’s growing notoriety, young Shinji
Koito is inexplicably drawn back to his former home.
Reason is a wonderful
rich and methodical film that takes its time to build a remarkably full picture
of residents and the people in their orbits. Although rarely seen, Yuri Nakae selflessly
holds the film together as the journalist, much like William Alland in Citizen Kane, except she actually gets
the answers she is looking for. Reason
probably has thirty or forty meaty roles, each of which is memorably executed.
Terashima Saki is terrific as the empathic Nobuko Katakura and Ayumi Ito is
desperately haunting as Ayako Takarai, a mysterious teenaged mother who
eventually crosses paths with Ishida and company. However, Ittoku Kishibe
really provides the film its reflective soul as the building super, who is
constantly re-interviewed to give us more context.
