뉴스레터

I am always impressed by Japanese television dramas. The unfolding of the storyline is remarkable. The same goes for the diversity of subject matter. Every episode, whether it is the 10th or the 11th, is complete unto itself. The sequence of events in every episode is closely-knit, without a single unnecessary scene.

The 1997 television drama Gift, starring Japan's popular star KIMURA Takuya, is no exception. The ending did seem somewhat loose considering the intensity of the events that had been building up to the dramatic climax. The ending also seemed abrupt; it was packed with way too much information, giving the impression that the makers were rushing to bring the story to a quick conclusion. Nevertheless, it is difficult to look at Gift as just another formulaic television drama. It traces the process by which Yukio, the main character, who suffers from amnesia, confronts his past. There is depth to the questions that the drama poses through the portrayal of this process and to the messages that Yukio receives from his customers. As a matter of fact, the drama may even be considered profound.

Some people do not like Japanese dramas, claiming that they are often too serious and didactic. But these are the very reasons why I like them. At least when it comes to Japanese dramas I have seen, they not only possess mass appeal but also maintain basic respect for dignity and humanity. That is, they skillfully realize the happy balance between artistic rigor and mass appeal.

It is also fun to watch Japanese dramas because we can see how Japanese popular culture expresses and portrays social concerns and proposes solutions to them. Of course, some may say such an assessment is completely subjective and purely a matter of interpretation. That may be, but are we not entitled to our feelings about a television drama, a movie, or a painting?

Yukio, who had been suffering from amnesia, is taken aback when he suddenly starts remembering his past. He then comes to the realization that he had been running away from it. His past had been very different from his present. The clearer his past becomes, the more terrified and pained he gets with the understanding that his past may strip him of his present. However, to find his true self, he has to go through the painful process of confronting his past. This search for the inconvenient truth is the most valuable gift for Yukio, an amnesic of three years.

Japan equated imperialism with modernization and invaded and inflicted much pain on neighboring countries. Japan now desires to break free from this past. Japan is asking its neighbors to forget its past wrongdoing. It is demanding that the past be wiped clean from our memories, suggesting that forgetting is the way to go. Japan asks that we should all get along from now on.

Yet, if Japan wants to move forward, it should not run away from its past wrongdoing. Japan may suffer from an excruciating headache. Its vision may get blurry, and its legs may buckle. However, there is no other way but for Japan to seek its past, look at it straight in the eye, recognize its mistakes, and learn from them--just like Yukio. Otherwise, Japan itself will never realize the "heartfelt truth" it wants to convey to its neighbors, and thus, its neighbors will never learn of it.

Personal duty and universal principles do not exist separately. As I watched Gift, it dawned on me that Yukio's spiritual healing process, through which he wins the hearts of many, is no different from what Japan could do--shaking off its past and getting along with its neighbors. Maybe that is why I found this drama so interesting. I wish Japan also receives the gift. I wish the gift is delivered to us too. In the same way that Yukio had been delivered his gift...