Pecoross’ Mother and Her Days
Pecoross’ Mother and Her Day
Title in Japanese: ペコロスの母に会いに行く ( Pekorosu no haha ni ai ni iku )
Main Cast & Staff Credits
Yuuichi Okano ---------- Ryo Iwamatsu
Mitsue Okano ---------- Harue Akagi
Mitsue Okano (younger days) ---------- Kiwako Harada
Satoru Okano ---------- Ryo Kase
Tooru Honda ---------- Naoto Takenaka
Director ---------- Azuma Morisaki
Director of Cinematography ---------- Takeshi Hamada
The Original Auther ---------- Yuuichi Okano
Screenwriter ---------- Tomoaki Akune
Lighting ---------- Hitoshi Takaya
Director of Audiography ---------- Tsutomu Honda
Director of Art ---------- Kouichi Wakamatsu
Editor ---------- Souzou Morisaki
Music Producer ---------- Masayoshi Ookawa
Planning, Producer ---------- Takeru Inohara
Producer ---------- Katsuhiko Muraoka
Theme Song Performed by ---------- You Hitoto
Production Company ---------- surouninn, inc.
Distributior in Japan ---------- TOFOO,LLC.
© “Pecross’ Mother and Her Days” production committee
2013 / 113min / DCP (1.85 USA) / Japan / Japanese / Colour / Dolby Digital / Fiction
Shooting format: Arri Alexa
Screening format: DCP ( 1.85 USA / 1080/23.98p )
Yuuichi Okano is a baby boomer born and raised in Nagasaki, Japan. His baldhead looks like a pecoross, a small onion. The film depicts the daily life of Yuuichi and his mother, and their relationship full of humor and sweet sorrow. His mother, Mitsue, began showing signs of dementia soon after her husband, Satoru, passed away 10 years ago. The theme of the film focuses on a serious social issue in Japan at the moment: nursing care and the rapidly advancing cases of dementia that coincide with the growth in the country’s aging population. Pecoross’ Mother and Her Days Director, Azuma Morisaki, who at the age of 85 is now the oldest active film director in Japan, completed this light and heart-warming film with a unique insight into the content.
Yuuichi Okano is a baby boomer born and raised in Nagasaki. He has become so immersed in his hobbies-- drawing manga and performing as a musician-- that he’s neglected his work as a magazine ad sales rep.
“It’ll work out, it sure will. I’m telling you it will…” As he happily performs his original song in a café, a phone call cuts him off. He gives a dirty look on his audience, but it’s his cell phone that’s ringing, and the call is from his mother, Mitsue, telling him that some workers have come home to do some work on her sewage system. Because she’s been taken in by scam after scam and it’s obviously another one, he shouts at her not to pay them only to shake off his hat and expose the bald head that looks like a pecoross, a small onion.
Mitsue’s dementia began soon after her husband, Satoru, passed away 10 years ago. She goes out to buy some sake for Satoru and gets taken back home by her grandson, Masaki; she waits for Yuuichi to come home in his parking space and almost gets run over; she fills up her drawers with her dirty underwear... facing all kinds of incoherent behaviors, Mitsue’s caretaker persuades a reluctant Yuuichi that it’s time to put her in a care home.
The care home she enters is a great one, however, where all patients join activities such as singing. Matsu, who’s turned back into a lovestruck high school girl; Yuri, who pesters everyone for candy; and Yojiro, who touches the breasts of the pretty caretakers… all patients with their weird and wonderful personalities happily welcome Mitsue; however, she closes her up in her room and keeps sewing invisible clothes, saying that she has to mend her Satoru’s suits.
Mitsue was the eldest of 10 brothers and sisters, so mending her baby brothers and sisters’ kimono worn out in their fieldwork was her chore. Even after she got married, she had hard times because Satoru drunk all his wages and in turn, his suits and their children’s clothes had all sorts of patches and darns.
Mitsue’s memories seem to gradually drift back to her past. One day, she says that Satoru, her childhood friend Chi-chan, and Mitsue’s younger sister Takayo, who died at the age of eight, have come to see her. As Yuuichi just simply answers, “yeah?”, she says, “they come to see me more often after they died”. With that, Yuuichi comes to think that becoming forgetful may not be all that bad.
Director’s Biography and Filmgraphy
Born in Shimabara City in Nagasaki in 1927. After graduating from the Faculty of Law of Kyoto University, he joined Shochiku Kyoto Studio. Transferred to Shochiku Ofuna Studio, he worked as an assistant director and screenwriter for some great directors such as Yoshitaro Nomura and Yojiro Yamada.
His first movie, Kigeki: Onna wa dokyo, came out in 1969, and from there his passion in films has continued in comedies such as Tora-san, His Tender Love ("Otoko wa Tsurai yo: Fuuten no Tora"). He received the Art Encouragement Prize for New Artists by the Agency for Cultural Affairs for his great work in 1971. He has continued to work within his unique and humorous perspective in the vital lives of common people, exemplified by his 1975 film Ikiteru uchiga hana nanoyo shin-dara sore madeyo to sengen. In 2004, he premiered Chicken Is Barefoot (Niwatori wa hadashi da ) and was subsequently invited to the Forum section of the Berlin International Film Festival, also receiving the Award for Best Artistic Contribution at the Tokyo International Film Festival. At the age of 85, he is now the oldest active film director in Japan.