Alternate Best Supporting Actor 2013: Lily Franky in Like Father, Like Son

Lily Franky did not receive an Oscar nomination for portraying Yūdai Saiki in Like Father, Like Son.

Lily Franky plays the role that is many ways the antithesis of the film's lead character Ryōta (Masaharu Fukuyama). Ryōta being a rich work driven businessman who never seems to find time for his son. This is opposed to Yūdai Saiki who is a working class guy who runs an electronic shop with three kids of his own, but he finds plenty of time to share with them. Although the "outgoing" Yūdai may seem less challenging than pulling off the very reserved Ryōta, Franky's role also presents its own challenge. This is in the wrong hands there could've been the potential to simplify this difference into a potential caricature. The essential element thought to Franky's work then is this naturalism, as there is not a hint of performance in this performance. This idea even can sometimes wrongly be used as an excuse for being boring or simplifying in some other way, however that isn't the idea of Franky's performance that introduces us so vividly to Saiki and his family. This is from the outset of his appearance when he and his wife, show up to meet Ryōta and his wife to discuss what's to be done with the revelation that their sons were switched at birth. Franky's work delivers so much information just within his somewhat shy and awkward demeanor, ill-fitted to these sort of meetings, though with this earnestness within his delivery as he notes the difficultly to properly address the situation. I especially love his wholly genuine reaction of deferring to his wife's notion that even if they were giving up a pet it would not be a simple prospect to switch something you love.

Franky in that more reserved moment even reveals the more open, but also more emotionally honest nature of Yūdai. He's not someone who wears his emotions constantly on his sleeve, but rather Franky reveals someone with just a healthy sense of it. As we explore the family more though we are granted a greater sense of the man though. This is as we see him interact with his children where Franky is simply wonderful. Franky brings such a genuine warmth in the energetic interactions of Yūdai with his three children. There is not a false hint in Franky's work that exudes just a man who loves his family, and adores every moment he gets to spend with them. This isn't something he forces, but rather finds so much texture in the quiet moments of sincere affection, along with those little moments of humorous interactions fitting to an open loving father. In the moments of pure family interaction Franky reveals a man completely in his element, by just essentially giving himself to each and every moment, by always having a second to spare for his kids. Franky is this constant reminder of this different approach to parenting, as his performance creates with such an ease the powerful sense of a father far more in touch with his son than Ryōta ever has been. Franky again never simplifies the role within that, but also in terms of creating the sense of the man Yūdai is. When we see him interacting with Ryōta, Franky's manner changes to exude the strangeness of the situation, but also the separation of class and spirit. It isn't a cold separation but rather Franky's reaction are so effective in offering the sense of near anxiety on how to broach such a different man.

There is a fantastic moment where Yūdai tries to present his side, and I love the meek delivery of Franky's that brings such an honesty as he tries to impart his own wisdom, as gently as possible. His eyes in the moment evoke such a real concern towards the man's business focused mind, though while conveying this sensitivity towards the situation and their separation of class. Although even with this Franky brings that wholly good nature of the man this earned constant as part of his outgoing personality, to the point of trying to make the unique relationship work even with that distance. The only time this breaks is when Ryōta coldly suggests he takes all of the Saiki's children due to their better living conditions, based solely on their wealth. Franky's reaction of sheer disbelief with an undercurrent of horror makes Yūdai's violent reaction of hitting the man natural even to such a cheerful man. Franky in the moment shows so well the horror of such an idea and is only supported by that sense of overwhelming love for his children. Franky throughout the film adds so much to the film by providing this contrast to the central character. He does so by providing this other side of the coin but in doing so providing as honest of portrait of man. He never becomes a caricature of the "fun dad" in the same way Fukuyama never becomes one of the "cold dad". Their performances rather creates that contrast while still being fully embodying these men beyond that circumstance. Although he obviously has a more limited perspective than Fukuyama, Franky's work also finds such a quiet poignancy in presenting Yūdai with an essential reality of a man living through this unlikely struggle, just a different kind of struggle due to the nature of the man.