Alternate Best Actor 2013: Masaharu Fukuyama in Like Father, Like Son

Masaharu Fukuyama did not receive an Oscar nomination for portraying Ryōta Nonomiya in Like Father, Like Son.

Like Father, Like Son is a terrific film that follows a wealthy couple as they learn that their son was switched at birth, and must contemplate switching him with their biological son.

Masaharu Fukuyama has a very difficult role here as it is not nearly as straight forward as one might expect just from the brief synopsis I provided above. This is as the film itself takes a very naturalistic approach to the story, despite the potentially melodramatic central element. The film takes a very calm and very honest approach, that is evident right within Fukuyama's performance as a Ryōta. This is as we see him interact with his wife and apparent son as they live their life. Ryōta spending much of his time working, in fact far more time than with his wife and son. I love that Fukuyama portrays this without stereotype within the idea of such a man, though while wholly fulfilling the reality of such a man. In that we see him in his life and there is not an excessive unhappiness. Instead Fukuyama portrays a contentment within Ryōta's life, not a fulfilling contentment perhaps, but there is no sense of loss or desperation within this. Fukuyama rather portrays a man just naturally living his life, which for him means spending very little time with his actual family. Fukuyama is effective though by doing so in such a believable way by also accentuating a natural decency within the man, by simply never turning this into a one-dimensional caricature of the stern businessman.

Fukuyama is great in that he realizes so naturally what should seem like artifice, however Fukuyama finds the truth of the matter given that the man's experience has crafted him in this traditional expectation. This is as his physical performance, and general manner carries the weight of expectation so well. He doesn't overplay but finds the right authentic stilted quality in the man caused by this overt formality as required to be a proper man that has been gilded within him. Again, Fukuyama still shows the general sense of an affection with his wife and son, though always with a certain level of disconnectedness. This is as his eyes often drift as though he is looking elsewhere and seems tethered to some other requirement of life. Fukuyama is terrific in the way he shows a certain type of coldness that isn't intense, but still notable. Fukuyama portrays well as this assumed burden int he way the man so carefully speaks his emotions and always presents his strongest drive within his professionalism as opposed to his family. Fukuyama does a fantastic job of finding such a humanity within essentially the realization of a man. Fukuyama does not bring us some standard stiff Japanese businessman, but rather shows us a real man, who happens to technically be a stiff Japanese businessman.

Things must change a bit though when Ryōta is faced with a different reality for himself and his wife Midori (Machiko Onon), when they discover their son is technically not their own. In fact, their son technically belongs to the people who have been raising their biological son. The couple being a rather affable and outgoing pair named the Saiki family (the apparently always delightful Lily Franky and Yoko Maki). Fukuyama is essential in a fascinating way in these series of scenes where the couples meet, try to come with a solution, and deal with the strangeness of the situation. This is as Fukuyama's work, though certainly the central focus, is often of the observer. This falls right in the man's life where family has come second, and now he is forced a bit more interaction. Fukuyama is marvelous in creating certainly the sense of discomfort in these moments particularly as he sees the contrast in his parenting style to the far more engaged Saiki's. Fukuyama is amazing though as in his subtle glances he is able to convey an uncertainty in observation, of a man trying to determine his own thoughts, both as this state of being critical towards what he is seeing while also being unable to processes it within himself. Fukuyama creates this essential conflict within the man that so importantly defines Ryōta's journey.

Fukuyama again is great at portraying the complexity of the situation within the mind of Ryōta as it is not this simple thing. As there are these moments of this unease alluding to a discomfort within his own distance. These then though are followed by statements of cruelty such as when he criticizes his "adopted" son's lack of ambition or suggests, by virtue of his financial circumstances, that he takes all of the Saiki children. Fukuyama's delivery of these moments is great as he makes them feel so honest, even as he does not portray Ryōta as some evil man. Fukuyama though finds so effectively this formality in this delivery of a moment as it represents a man who has learned a certain expectation. This being a certain expectation of success as painted even in parenthood, which is more financially oriented that emotionally so. Fukuyama again makes this a natural reaction within the learned state of the man. Fukuyama making this almost required. This is supplemented though through the real humanity, so quietly portrayed, minimally but not mute, as the man contemplates this situation. This in seeing the loving family but also dealing with the cruelty that they learn had been purposefully inflicted upon them by a nurse. Fukuyama shows that at every point it is not a hollow thought within the man, as his eyes show the real concerns within Ryōta even as he is unsure if to express them.

Ryōta coldly chooses to switch children. This of course goes as well as to be expected as their son, accustomed to the ever-present father, reacts poorly to Ryōta's parenting style. Fukuyama's performance though is excellent in these moments as he is able to express the difficulty of the situation, that we see him attempt to apply his business approach, though this falls away by the boy's reactions. Fukuyama's small concession are made so authentic by making the fall of the business this reversion to that humanity that has never been absent, yet only hesitated to express. Fukuyama in these moments still shows this to be quiet, yet the small loss of the more reserved attitude brings such a power to it as the man tries to provide a more open affection. This is only a small realization though as he comes across more directly his failings towards the son he raised, first in visual proof via pictures the boy took of his "father", always sleeping. Fukuyama is heartbreaking in his reaction that is so expressive. It is an anguish that is defined by the real affection he did have for his son that he failed to show when he had him. This is followed by when the families reunite again though Ryōta's raised son runs from him. Fukuyama is outstanding in the scene of talking his son back to him. This is as he so powerfully loses any of that professional distance. He doesn't overplay it, as his words are still quiet, yet the love is expressed so deeply in his eyes and still within his voice as he now directly speaks to his son like a father should. I loved this performance as Fukuyama offers such an atypical journey. This is as this character typically would be a villain, and the film would probably be about Lily Franky's character. We are granted a different perspective though and through that Fukuyama offers a most poignant and human portrait of a man coming to terms with his life and family.