Mr. Thank You

Plot

In Depression-era Japan, a remarkably courteous bus driver known as 'Mr. Thank You' travels the mountainous roads of the Izu Peninsula to Tokyo, constantly expressing gratitude to everyone he encounters. His bus carries an eclectic group of passengers including a young woman and her mother heading to Tokyo to work as maids, a cynical student, a flirtatious young woman, and various other characters from different social strata. Through their conversations, arguments, and moments of connection during the journey, the film paints a vivid portrait of Japanese society during economic hardship. The bus driver's unwavering politeness and humanity serve as a unifying force, creating moments of genuine connection among the diverse passengers. As the journey progresses, we witness the characters' personal struggles, dreams, and the social tensions of 1930s Japan, all while the bus continues its steady progress toward the modern metropolis of Tokyo.

Historical Background

The film was released in 1936, during a critical period in Japanese history. The Great Depression had severely impacted Japan's economy, leading to widespread unemployment and social unrest. Rural areas were particularly hard hit, forcing many young people to migrate to cities like Tokyo in search of work. This period also saw the rise of militarism in Japan, with the military gaining increasing influence over government policy. Despite these tensions, there was still relative artistic freedom in Japanese cinema, which would soon be curtailed as Japan moved toward full-scale war. The film captures this transitional moment, showing both the traditional rural life and the encroaching modernity of urban Japan. It also reflects the social stratification of the time, with clear distinctions between different classes and professions, while simultaneously suggesting the possibility of human connection across these divides.

Making Of

Hiroshi Shimizu was known for his innovative directing techniques and his humanistic approach to filmmaking. For 'Mr. Thank You,' he insisted on filming on location in the Izu Peninsula rather than on studio sets, which was uncommon for Japanese films of the era. Shimizu often used long takes and mobile camera work, sometimes mounting cameras on actual moving buses to capture realistic motion. He was known for giving his actors considerable freedom in their performances, encouraging naturalism over theatricality. The director's partial disability (he walked with a cane due to a childhood injury) may have contributed to his empathetic portrayal of characters struggling with physical or social challenges. Shimizu was also known for his rapid shooting style, often completing films quickly while maintaining high quality, which allowed him to be one of Shochiku's most prolific directors during the 1930s.

Visual Style

The cinematography in 'Mr. Thank You' was groundbreaking for its time, featuring extensive location shooting in the Izu Peninsula rather than relying on studio sets. Shimizu and his cinematographer used natural light to create a realistic, documentary-like quality that was unusual for Japanese films of the era. The camera work is notably mobile, with shots filmed from moving buses and tracking shots that follow characters through the landscape. This dynamic cinematography creates a sense of movement and journey that mirrors the film's narrative structure. The film also makes effective use of the mountainous landscape of Izu, using the changing scenery to reflect the characters' emotional states and the progression of their journey. The visual style combines documentary realism with carefully composed shots that highlight the human element of the story. Shimizu's use of long takes and deep focus allows for natural interactions between characters, creating an authentic sense of community within the confined space of the bus.

Innovations

'Mr. Thank You' featured several technical innovations that were ahead of their time in Japanese cinema. The extensive use of location shooting, particularly filming from moving vehicles, required innovative camera mounting techniques and portable sound recording equipment. Shimizu and his crew developed methods to stabilize cameras on the moving bus, allowing for smooth tracking shots that maintained focus on the actors while capturing the passing scenery. The film's sound recording on location was particularly challenging given the limitations of early sound equipment, requiring creative solutions to minimize noise from the bus engine and road. The cinematography employed techniques that would later become standard in road movies and journey films. The editing rhythm of the film, which maintains a steady pace while cutting between different passengers' stories, was sophisticated for its era. The film also demonstrated advanced techniques in capturing natural lighting in outdoor scenes, a technical achievement that contributed to its realistic appearance.

Music

The film features an early example of sound design in Japanese cinema, using both diegetic sounds (the bus engine, road noise, passengers' conversations) and a musical score that underscores emotional moments. The soundtrack was innovative for its time in how it integrated natural sounds from the location shooting, creating a more immersive audio experience than was typical for early sound films. The musical score, while not credited to a specific composer in surviving records, uses traditional Japanese motifs alongside Western-influenced orchestration, reflecting the cultural transition occurring in Japan during the 1930s. The sound design emphasizes the mechanical sounds of the bus, making the vehicle itself a character in the film. The audio quality, while limited by the technology of the era, was considered advanced for its time, with clear dialogue recording that was challenging during location shooting. The film's use of sound contributes significantly to its realistic atmosphere and helps create the sense of an actual journey through the Japanese countryside.

What Critics Said

Upon its release, 'Mr. Thank You' received widespread critical acclaim in Japan, with critics praising Shimizu's humanistic approach and technical innovations. Kinema Junpo, Japan's most prestigious film magazine, named it one of the best films of 1936. Contemporary critics particularly noted the film's naturalistic performances and Shimizu's innovative use of location shooting. In later decades, international film critics rediscovered the film through retrospectives of Japanese cinema, with many considering it ahead of its time in its cinematic techniques and social commentary. Modern critics have praised the film for its subtle critique of Japanese society during a period of rising militarism and its celebration of ordinary human decency. The film is frequently cited in academic studies of Japanese cinema as an example of how filmmakers could embed social commentary in seemingly simple narratives. Critics have also noted how the film's bus journey structure creates a microcosm of Japanese society, allowing for complex social observations within a seemingly simple framework.

What Audiences Thought

Contemporary audiences in 1936 Japan responded positively to the film's relatable characters and situations, particularly the bus driver's courtesy which resonated with traditional Japanese values of politeness and respect. The film's focus on ordinary people's struggles during the Depression era struck a chord with viewers facing similar economic hardships. The journey format was popular with audiences, as it allowed for multiple storylines and character types to be explored within a single narrative. Over the decades, as the film has been restored and shown in retrospectives, modern audiences have discovered its charms and relevance. The film's themes of human connection and courtesy continue to resonate with contemporary viewers, particularly in an era when such values are often seen as declining. The film has developed a cult following among cinema enthusiasts who appreciate its historical significance and artistic merits. Its availability through The Criterion Collection has introduced it to new generations of viewers interested in classic Japanese cinema.

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