User reviews

The story is about two Japanese families who got their sons exchanged at birth but only to find out about it 6 years later. The big dilemma that both families face is whether to switch children or not. The main strength of this film is the unique story and the complexities that comes with this theme. Already from the start when both families meet a lot of tensions occur due to the different backgrounds and personalities of the characters. The acting performances are top notch creating a convincing scenario between these families. Koreeda has always been good with handling fun and deep family stories with underlying conflicts. A masterful combination of both humour and grief. This film will make you both laugh and cry. As always in Koreeda films the children are the biggest reasons for enjoying his films. Full of charisma and innocence pulling us through a emotional journey from start to end.

'Like Father, Like Son' is the latest film from Hirokazu Koreeda that won the Jury Prize at the Cannes Film Festival this year. Like 'Nobody Knows' and 'I Wish', Koreeda's previous films, it deals with family conflicts and children. A successful businessman discovers that the boy he has been raising for 6 years is actually not his son, as his son was switched with another child after birth. Now he needs to choose between his biological child and the child he has raised…

The actors in this film are great, not only Masaharu Fukuyama as father but also the young actors who play Keita and Ryusei. Koreeda always works well with kids. Keita is so adorable. The film handles the conflict very realistically and well reflects how the way of upbringing have influence on the children. It is quite emotional at the end of the film, so be prepared you may shed some tears.

We have seen many films delve on the topic of babies being switched at birth. Most of these, the story would revolve around the fortune of the kids. "Like Father, Like Son" is about the parents, particularly the fathers.

Ryoko and Midori Nonomiya are a well-to-do couple who had a sweet 6-year old son, Keita. Yukari and Yudai Saiki are a lower middle-class couple with a spirited 6-year old son, Ryusei. One day, they get news that a nurse had switched their sons with each another one at the hospital. With that shocking revelation, both families undergo an emotional ordeal in deciding how to settle their big problem in the best possible way for everyone concerned.

Writer-director Hirokazu Koreeda decides to tell the story from the point of view of Ryoko, a driven man at work who was disappointed that his son Keita was not as competitive nor independent as he wanted. When he gets the chance to be father to Ryusei as well, Ryoko discovers that his concept of fatherhood might not be as ideal as he thought.

Koreeda sets the contrasting dichotomy a bit too sharply. The Nonomiya home is sedate, quiet, and darkly lit. The Saiki home is messy, noisy and brightly lit. Ryoko (Masaharu Fukuyama)is handsome and smartly- dressed, but he is serious and haughty. Yukari (Riri Furanki) is homely and shoddily-dressed, but he is cheerful and kind. Which kind of father do you think the boys will prefer?

The important message of this film will definitely resonate with all fathers who watch this film. Fathers will reflect on their own parenting style and on what kind of father he had been. This film deserves all the praise heaped upon it. It is about time fatherhood is discussed very well in a film.

Two families learn the devastating news that their sons were swapped in the maternity hospital, and each has been raising the other's biological offspring for the last six years. In trying to solve this unholy mess, one father has to face his own vulnerabilities.

Koreda has one again taken his scalpel to family life and crafted a masterpiece. Fukuyama as the driven, high-achieving Ryota is a revelation, an advocate of the tough love school of child-rearing, who never wastes an opportunity to tell his son he should be trying harder, succeeding more. One word - 'yappari' - reveals his disappointment and ultimate lack of humanity, and proves to be a pivotal statement in his journey to self-awareness.

Two archetypal elements of on-form Koreeda make this move a masterclass in dramaturgy. One is the sparkling, naturalistic performances from the children. When Ryota tries to explain to his biological son that he now should be addressing him as 'father', the stubborn, implacable resistance of the young actor is deftly played. There is a similar moment when Ryota confronts his tormentor, only for her young son to appear and remind Ryota of the kind of son he should have been himself. The other element is judicious deployment of point-of-view. Four parents go through this traumatic experience, but while the gravity of the situation for the other three parents is never in doubt, the journey we experience is Ryota's. He learns not only to love, but to accept, and even, in one phone call to his stepmother, to repent. Rirî Furankî is exceptional as electrician handyman Yudai. At first he seems more concerned with financial gain than natural justice, but slowly proves himself to be the better father. The fact that he is never shown suffering over the loss of his own biological son, and yet seems imbued with the humanity Ryota lacks, is testament to Furanki's performance and Koreeada' scripting and helming. Machiko Ono and Yôko Maki as the two wives who support each other are equally impressive.

The situation portrayed is every parent's nightmare, and the film succeeds in conveying that, while also mining a deep vein of humanity and compassion, and even managing a few comic flourishes. Superb.

Director Hirozaku Koreeda returns to the children theme, presenting a drama about a couple that discovers that their 6 year old son has been swapped in the hospital with another baby. Now, there is a choice to be made, as whether the children should be switched or not. The movie has a cold, intense and almost uncomfortable feel to it, such is the delicacy of the situation itself, whose directing easily penetrates through the viewers spirit. All the actors, adults and children, deliver an outstanding performance, particularly Masaharu Fukuyama, the father. Also it is important to note how the movie doesn't fall into stereotypes and into the easy sentimentalism. The movie is strong, just as the presentation, all building up for one of the best movies in 2013. Check out this and other movie reviews on thefadingcam blog on blogspot! Also like us on facebook =)

Everyone has an opinion about what constitutes good parenting. Does it boil down to rules and regulations, pushing a child to excel, letting them just enjoy themselves, or the amount of time you spend with them? These issues are on the table in Hirokazu Koreeda's latest child-centered film, Like Father, Like Son, winner of the Jury Prize at last year's Cannes Film Festival. Ryoto Nonomiya (Masaharu Fukuyama) is a somewhat aloof architect who works long hours at his job, leaving little time for his six-year-old son Keita (Keita Ninomiya). Ryoto and his wife Midori (Machiko Ono) live in a luxury Tokyo apartment that relatives tell them looks like a hotel.

Keita is comfortable and apparently quite happy, enjoying a close and caring relationship with his mother, even though his father is not always around. Ryoto loves Keita, however, and wants the best for him, pushing him to excel in academics and music, but his character is painted in such broad strokes that he doesn't come across as truly caring. The family's comfortable world is turned upside down, however, when the Nonomiya's receive a phone call from the hospital telling them that Keita is in fact not their biological son, that testing has revealed that two boys were switched at birth, presumably by accident.

Both curious and anxious, Ryoto and Midori make plans to visit their biological son and here Koreeda draws a sharp contrast between the two families. Yudai (Lily Franky), a good-natured, playful storekeeper and his wife Yukari (Yoko Maki), are working class people, living in the rear of a general goods store with their three children, a boy named Ryusei (Shogen Hwang), and his younger brother and sister. Although tongue in cheek, Yudai tells his wife that his philosophy of life is "I always say, put off to tomorrow, what ever you can." When the mistake of the hospital is realized, the shocked families must decide how (and if) they are going to exchange sons.

The upper class Ryoto says that it "now makes sense" why his son Keita is not talented and ambitious like himself, a statement that is very hurtful to Midori. His desire is to continue the bloodline, urged also by his own father who suggests that he should make every effort to raise both boys. While this may sound good in theory, when Ryoto raises the possibility with Yudai and Yukari, the reaction is one of deep insult and Ryoto has to go to Plan B. While awaiting a financial settlement from the hospital, the two families agree to let the boys come for a visit to gradually get to know their real parents, at first for one day, then later on the weekends.

Awkwardly, Ryoto tells Ryu to call them father and mother, reserving daddy and mommy for Yudai and Yukari, the only parents he has truly known. Friction begins to develop between the parents when Yudai let's Ryoto know that he should spend more time with his son. Though both children adjust, Ryu expresses a longing to return to daddy and mommy. Ryoto wants the exchange of children to work out but Midori misses Keita and reacts with anger when she perceives that her husband blames her for what has happened. The exchange of the boys becomes a catalyst for Ryoto to look at his life and see what has been missing in his approach to parenting and he has the courage to make changes.

Like Father, Like Son is a riveting experience that once again demonstrates that the performances Koreeda can elicit from children are little short of amazing. Like Father, Like Son can meander, has some formulaic aspects, and does not have the weight of some of his earlier films, yet it is an entertaining, thought-provoking, and beautifully realized two hours at the movies.

"Work hard now, so there is no struggle later" declares a hard-driving and pushy Dad. As if work makes the man. As if it is so simple. Upon discovering his 6-year-old son was switched at birth, the Dad continues to focus on form and not heart. The family taking care of his real son is everything that he is not; fun-loving, adventuresome, and loving of the natural world. He pools his lawyers and his money in order to prove a point, yet the point proved may be his own demise. Though the story might be better developed in places, the theme is compelling and poignant, the actors are believable, and the disparate characters are intriguing. Winner of a Cannes festival jury prize. This film is about the importance of achieving real connections with others.

I just discovered Koreeda's films and I'm surprised, and angry with myself, I didn't know about this great director and storyteller. The film is a wonderful story about parenthood in which its hardship and beauty are well balanced.

The story drives the audience into the lives of two (almost antagonistic) families who had to go through a tough situation together, a situation imposed by a third party in the past. Koreeda tell us the story by examining these two very different families. By portraying these almost antagonistic families the story creates contrast and allow the characters to grow an evolution while they discovered themselves.

I will not say more... watch it if you are looking for touching, delightful and well directed story about family and love.

I really don't understand what is controversial about this movie. I couldn't relate to the character's so called dilemma. guess you have to be Japanese to understand the conflict. Okay so you find out the kid you are raising is not your kid by birth. The initial realization that someone might have switched your kid with someone else's kid might be shocking but only a completely uncaring parent would disown the child. I really don't see the dilemma.

Science has already proved that environment plays a greater role on the development of a young brain than genetics. After the realization is made regarding the origin of the child the choice is obviously an easy one for a caring parent.

There are worse nightmares for parents but this one is pretty bad, to find out that your 6-year-old son is biologically not your own, that he was switched at birth with another baby. In telling this story about the dilemma the two sets of parents find themselves facing, Kore-eda touches on nature vs. nurture, parenting styles, and class differences. The rich father seems ice cold emotionally, and it's telling that his first thought is that he'll pay the other man and take both kids. We learn that he is the way he is for a reason as the story spans three generations, though it would have been even better if we had gotten a little more backstory on the mothers. As in all of Kore-eda's films, there is a gentleness here, but it's perhaps too gentle, since painful situations like this often seem to bring out more trauma than amicability. There are lots of adorable moments with the kids though, and the film's central message is so sweet - spend time with your kids, love them for who they are, and be as good or better than your own father was.

Hirokazu Koreeda's Like Father, Like Son is a very emotional movie. One that made me feel for its characters. The film is full of great performances, an interesting soundtrack, and a plot that is easy to understand.

Set in Japan Like Father, Like Son tells the story of Ryota Nonomiya, a successful businessman, who is driven by money more than anything else. Ryota is married to Midori, and has a son named Keita. When Ryota and Midori visit the hospital after receiving a call from them, they learn that Keita is not their biological son. Ryota is forced to choose between keeping the child, or doing the right thing and giving him back to his biological parents. Things are especially complicated for Ryota as Midori is still devoted to Keita, even after learning his true origins.

Like Father, Like Son is a very touching film. It is helped by the performances of the actors. Masaharu Fukuyama gives a very "tame" performance as Ryota. When he learns that his son is not his real child, he doesn't explode. Instead, he keeps his cool, and tries to make the best of it. His performances are especially helped by the script, as on only a few occasions it seems to require him to be truly "emotional". Maciko Ono, who plays his wife, Midori, also gives a very strong performance. Unlike most mothers, she doesn't break down at once after learning that her son isn't actually her biological son. Instead, she considers the possibilities of what might happen to him. These actors along with the rest of the cast are helped by writer and director, Hirokazu Koreeda's script, which is very strong.

One of the most fascinating elements about Like Father, Like Son is that this film is mostly devoid of any real soundtrack. The only bit of music throughout the film is that of a piano. The use of a piano in the film is clearly an attempt to make some of the most emotional scenes in the film, really emotional. Their son, Keita, played piano, and there is even a scene where he does a piano recital. The constant use of piano music is clearly supposed to link the relationship between the mother and father and their "son". For example, one fifteen second scene features Ryota and Midori driving to go see Keita. In this scene, there is no talking, just a shot of the car outside and piano music playing in the background. The piano music feels very haunting in this way, and as a result, the scene becomes emotional.

Although I have had minimal exposure to Japanese culture, I can clearly see that these two characters are real, and not stereotypes of Japanese people. Ryota, for example, clearly goes through a change in character, as he becomes less concerned with money and more concerned about his son. There is real emotion and charm to be found in this movie, and the way director Koreeda guides the family, helps a lot. Like Father, Like Son is a wonderful film, and one that many can relate to.

I won't describe the plot as it has been done already. What was moving to me it was the way that Keitan feelings were hurt by the expectations, lack of attention and coldness of his 'father'. He makes him feel not good enough and a disposable good that can be exchangeable and has no right to express its feelings. He goes as far as to request the child to avoid all contact with them.

He reconsiders his posture after-wards and what it seems to have disgraced both families comes across as an important opportunity to reconsider one's views in life and one's priorities.

Very recommendable movie.

Like Father, Like Son tells us the story of a young couple and how their lives get altered when they find out that their son, has been swapped at birth. Hirokazu Koreeda directs and writes of this affectionate tale and does so in an excellent way. The film was released in the stacked year of 2013, and quite frankly, I think it's among the best of the year.

Ryota Nanomiya is a successful architect who, while loves his family, spends too much time at work. One day, his wife, Midori, gets a call from the hospital where Keita, their son, was born. Soon they find out that a six-year old mistake caused their child to be swapped at birth with another. This leads Ryota and Midori to start getting more acquainted with the other family involved in this situation. All the while wondering whether they should keep, or re-swap the children.

The script for Like Father, Like Son was absolutely tremendous. The story itself is brilliant and captivating; you can't help but feel absorbed in the lives of everyone involved. This wouldn't be possible without great characters and that's exactly what we got. Ryota is a wonderful character made even better by the phenomenal performance by Masaharu Fukuyama. He isn't the caricature that you might expect him to be. In fact, I felt he was a rather realistic depiction of a loving father who happens to be a bit of a workaholic. On the other hand, Yudai Saiki, the other father affected by the swap, was so different to Ryota, but just as good of a character. The contrast between the two fathers was one of the most fascinating aspects of the film. It bettered both characters, and gave the film an extra layer.

As I mentioned earlier, Masaharu Fukuyama was incredible as Ryota. The subtleties and nuances in his facial expressions were particularly impressive. Rirî Furankî played Yudai, the more easygoing father. I already touched upon how different their characters are, but the quality of their performances are almost identical. They both raised the film to the next level. The mothers were played by Machiko Ono and Yôko Maki. Their portrayals may not be as critical as those of the two male stars, but they were excellent nonetheless. And lastly, the two kids were played by Shôgen Hwang and Keita Ninomiya. I was a bit surprised by their acting talents as I thought they were just as good as the adult actors. We all know that young actors may not always be the best in terms of acting abilities, but these two talented kids proved that they have some acting chops. They were cute, vulnerable, and even scared when needed to be, and they never missed a beat. Brilliant acting across the board.

On top of doing an outstanding job in the writing department, Hirokazu Koreeda also directed the film in a magnificent fashion. Despite the unfortunate incident the families are dealing with, there's a certain feeling of warmth throughout the film, that works greatly with the family within it. This is achieved, in part thanks to the phenomenal music by Shin Yasui.

Koreeda didn't rush with the story and gave us time to connect with the families, which is pivotal for a film like this. The visuals were also quite remarkable, with Mikiya Takimoto working as cinematographer; The scenes by the lake were beautifully shot and had a very serene vibe to it. Koreeda also opted for more movements from the camera in scenes where, a lot of times in other films, the camera would be static. Little details like that is what distinguishes the directing of the film from others, and gives it that unique aura that is so appealing.

Like Father, Like Son raises a very compelling question on the identity of one's child. Is your child yours because you raised, loved, and nurtured them for years, or because they're your flesh and blood?! At first glance I, and I imagine a few people, will say the former is the correct answer. But by putting myself in Ryota's place, I'd be just as confused and unsure as he was. The film also raises a good point on the different types of parents and parenting techniques. Both Ryota and Yudai love their families dearly. However one decides to work to improve the quality of his family's life in exchange for his time with them, and one lives a relatively lower life, but spends all his time with the ones he loves.

Like Father, Like Son is a film that will connect with the viewer on an emotional level. The story will grip you, while the technical aspects impress you. It's an outstanding film that should be seen by film lovers, especially those who have families and children of their own. An easy recommendation from me.

This movie makes me consider a lot of things.Ryota, Midori and Keita live a happy life but a phone call tells them a shocking news.I thought how strong children are. The mistake of children is not allowed and it is unbelievable.If I was the child of other family, I want to live with the family which grows me for a long time. Which is important that the time they live together or the relation by blood is really complex question.The gap between two family makes this movie more interesting.The climax scene is a little bit difficult for me, but thanks for this movie, I thought about my family deeply for the first time.

As the largest contributor of reviews on IMDb (with nearly 16000), it's not surprising that I watch films from all over the world. During this weird quest to see as much as any human can during the last decade, I have grown to love foreign films from several nations--notably France, Japan and Denmark. While I might also include a few other countries on this list, the reason I chose these three is that many of their films focus on people and their stories as opposed to explosions, excitement, special effects and glitz. These countries are producing wonderful films about people.

"Like Father, Like Son" is a wonderful example of these films about real people. Director Hirokazu Koreeda helms this thought-provoking film about two families that are thrown into chaos when they learn that their sons were switched at birth. In such a case, which child would you keep? This is the big question in the film at first. However, the film is about far more than this dilemma--and that is why I love this movie. Instead, the film really is about a man's journey from a cold, corporate over-achiever to becoming more human as a result of this tragedy. I could say more but think you should just see the film yourself. It has a lot to say about a lot of things--such as what constitutes good parenting. My advice--just see this film and see what messages it has--there are plenty and the film is an interesting critique about Japanese life and childhood. Wonderful and well worth your time.

'LIKE FATHER, LIKE SON': Four and a Half Stars (Out of Five)

Japanese drama flick; about two families, that discover their biological sons were switched at birth (six years earlier). It was written and directed by acclaimed filmmaker Hirokazu Koreeda. The movie stars Masaharu Fukuyama, Machiko Ono, Yōko Maki, Riri Furanki, Keita Nonomiya and Shôgen Hwang. The film has been a big financial hit, in Japan; and a critical success, as well, all over the world (including several prestigious festival award wins). It's so popular, that Steven Spielberg is producing an American remake (through his DreamWorks Studios); with filmmakers Chris and Paul Weitz set to direct. I saw the movie at the OSU International Film Festival (at Darkside Cinema, in Corvallis, OR) and I was really moved by it.

Ryota Nonomiya (Fukuyama) is a successful, and very conservative, businessman. He and his wife, Midori (Ono), have been raising a six-year-old together, named Keita (Nonomiya). One day, the hospital where Keita was born, informs them that Keita is not their biological son. He was switched at birth, with another six-year-old boy, named Ryusei (Hwang). Ryota and Midori decide to meet with the couple, who's been raising their son, named Yukari (Maki) and Yudai Saiki (Franky). The families begin spending a lot of time together, and each battles with the decision (they must make); whether to switch their children back, or not.

The film is both beautifully shot, and powerfully acted; Koreeda appears to be a director that lives up to his respectable reputation. The most impressive performances, in my opinion, come from the two six-year-old boys (and many think that great child performances, are largely due to great directing). The movie really feels like you're watching real people, dealing with real life situations (extremely tough, and troubling ones, at that). It almost feels like you're watching a documentary; the film is that convincing. It's really slow-paced, and the lead characters are challenging to get to know (at first); but the movie is well worth it, by it's emotionally charged conclusion. It's definitely a very powerful, and well made film!

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I caught this film on a United flight in spring 2014 while flying to Japan. It was also recommended to me by a Japanese friend so I believe it has some popularity in the mainland. Without any expectations that were too high, I thoroughly enjoyed the film. The acting, from the parents to the children, was superb. And understanding how Japanese culture can be, it embellished on the role of family vs. work life. The plot was credible and the movie did not have any slow parts. The ending had me in tears though, and it made me think about what I would have done or how I would have acted if I were in the character's shoes. I would recommend this to those who enjoy drama themes (with a little comedy) and those who liked to be moved.