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"If we can't dream, we can't change the future!"
Karei naru Ichizoku aka The Family was a 2007 family melodrama set in the late 1960s. Starring Kitaoji Kinya and Kimura Takuya as a father and son in a banking dynasty struggling to keep their financial conglomeration afloat when the government decides that smaller banks need to be merged with larger ones in order to compete with foreign countries. This family is full of dark and twisted secrets that create emotional chasms between most of the characters.
Manpyo Teppei is ambitious and fiscally aggressive in his desire to make Hanshin Steel a player in the world market. He also wants his steel company to strengthen Japan's economy and make it more competitive. Despite that ambition, he is a man of great integrity and works alongside his men and is deeply loyal to his wife and child. His father, Daisuke, is the opposite. There is nothing he would not do to maintain his wealth and power, including betraying his son. He marries his children into families that can be of use to him regardless of the harm it causes them. Without a shred of shame, his mistress sits in the wife’s chair at family gatherings. As Daisuke’s schemes and resentments of Teppei grow, only one man can rise to the top when the dirty deeds are done.
This was a good old fashioned family melodrama with sides of banking and steel thrown in. I searched to see if this was an adaption of Shakespeare or Sophocles with its pessimistic and tragic familial relationships. It was hard to not root for Teppei as he fought against other steel corporations, corrupt government officials, and his own father to actualize his dreams. Daisuke claimed to be working for the benefit of his family and employees but his actions brought suffering and pain. I kept hoping someone would shove him into the koi pond and let the giant koi, Shogun, eat him for dinner. Side note---I’m not one to complain about translations, but Netflix’s translation of Shogun was General, enough people in the West are familiar with the original term that they could have just used it. Back to our scheduled program--- Aiko was the devious serpent whispering in Daisuke’s ear. They made a perfect viperous pair.
The Family kept the story moving making use of cliffhangers for each episode. That’s not to say that there weren’t times when the story dragged and became too tangled in the financial weeds. The foreshadowing was heavy-handed, I kept waiting for the two “twists” to finally be revealed. On a better note, unlike many dramas where side characters can be extraneous, the side characters here were put to good use even if it was only to place a check mark next to a melodramatic trope.
The Family had splendid cinematography, eschewing the blown out, retina burning style dramas that came after it tended to favor. The snowy mountain scenes were gorgeous. The sets and cars helped to build a believable 1960s world though the costumes and hairstyles were often more modern, especially Teppei’s BoF hairdo. The music was as overly dramatic as the story, fitting in like a secret love child. Kimura was painfully beautiful and delivered a complex performance as the son who desperately wanted his father’s love. Kitaoji’s performance wasn’t as nuanced but his classic glare was put to good use as the conniving banker and jealous father. I had only one real complaint and will add it further down as a spoiler.
The Family was a compelling family melodrama that managed to make steel production interesting. It also showed how damaging one man’s assumptions and pride could be on his wife, children, and their spouses. The drama sought to answer the question: Are integrity and compassion stronger than vengeance and schemes? Sometimes we don’t always get the answers we want. Shakespeare and Sophocles would be proud.
17 July 2025
Trigger warning: A spider capturing and devouring its prey in at least two episodes.
***SPOILER COMMENTS BELOW***
***SPOILERS***
Usually, I only talk about minor spoilers, but this is a biggie, so final warning:
I was with this drama right up to the last episode and there it lost me. Teppei’s end was used as a “gotcha” moment for Daisuke. His action was out of character for someone who never gave up and loved his family. He abandoned his wife and child. Nitpicky point-the bandage was in the wrong place, that shot should have blown his head off. The officer saying “he died like a man,” was a terrible glorification of suicide which I found repulsive.
The father came away largely unscathed, despite the final scene. His rationale was faulty and like all self-absorbed people he cast blame and aspersions on others instead of taking responsibility and growing as a human being. He wouldn't have turned into a monster if Teppei hadn't been born? Bollocks! I kept thinking of the Princess Bride. “Who kills Humperdinck?” “No one does.” “Geez, Grandpa, why’d you read me this story anyway?”
Last but certainly not least---Where was the justice for Yasuko who was raped by her FIL and humiliated for 30+ years by her husband and then also by his mistress? If anyone deserved her pound of flesh it was Yasuko.
Manpyo Teppei is ambitious and fiscally aggressive in his desire to make Hanshin Steel a player in the world market. He also wants his steel company to strengthen Japan's economy and make it more competitive. Despite that ambition, he is a man of great integrity and works alongside his men and is deeply loyal to his wife and child. His father, Daisuke, is the opposite. There is nothing he would not do to maintain his wealth and power, including betraying his son. He marries his children into families that can be of use to him regardless of the harm it causes them. Without a shred of shame, his mistress sits in the wife’s chair at family gatherings. As Daisuke’s schemes and resentments of Teppei grow, only one man can rise to the top when the dirty deeds are done.
This was a good old fashioned family melodrama with sides of banking and steel thrown in. I searched to see if this was an adaption of Shakespeare or Sophocles with its pessimistic and tragic familial relationships. It was hard to not root for Teppei as he fought against other steel corporations, corrupt government officials, and his own father to actualize his dreams. Daisuke claimed to be working for the benefit of his family and employees but his actions brought suffering and pain. I kept hoping someone would shove him into the koi pond and let the giant koi, Shogun, eat him for dinner. Side note---I’m not one to complain about translations, but Netflix’s translation of Shogun was General, enough people in the West are familiar with the original term that they could have just used it. Back to our scheduled program--- Aiko was the devious serpent whispering in Daisuke’s ear. They made a perfect viperous pair.
The Family kept the story moving making use of cliffhangers for each episode. That’s not to say that there weren’t times when the story dragged and became too tangled in the financial weeds. The foreshadowing was heavy-handed, I kept waiting for the two “twists” to finally be revealed. On a better note, unlike many dramas where side characters can be extraneous, the side characters here were put to good use even if it was only to place a check mark next to a melodramatic trope.
The Family had splendid cinematography, eschewing the blown out, retina burning style dramas that came after it tended to favor. The snowy mountain scenes were gorgeous. The sets and cars helped to build a believable 1960s world though the costumes and hairstyles were often more modern, especially Teppei’s BoF hairdo. The music was as overly dramatic as the story, fitting in like a secret love child. Kimura was painfully beautiful and delivered a complex performance as the son who desperately wanted his father’s love. Kitaoji’s performance wasn’t as nuanced but his classic glare was put to good use as the conniving banker and jealous father. I had only one real complaint and will add it further down as a spoiler.
The Family was a compelling family melodrama that managed to make steel production interesting. It also showed how damaging one man’s assumptions and pride could be on his wife, children, and their spouses. The drama sought to answer the question: Are integrity and compassion stronger than vengeance and schemes? Sometimes we don’t always get the answers we want. Shakespeare and Sophocles would be proud.
17 July 2025
Trigger warning: A spider capturing and devouring its prey in at least two episodes.
***SPOILER COMMENTS BELOW***
***SPOILERS***
Usually, I only talk about minor spoilers, but this is a biggie, so final warning:
I was with this drama right up to the last episode and there it lost me. Teppei’s end was used as a “gotcha” moment for Daisuke. His action was out of character for someone who never gave up and loved his family. He abandoned his wife and child. Nitpicky point-the bandage was in the wrong place, that shot should have blown his head off. The officer saying “he died like a man,” was a terrible glorification of suicide which I found repulsive.
The father came away largely unscathed, despite the final scene. His rationale was faulty and like all self-absorbed people he cast blame and aspersions on others instead of taking responsibility and growing as a human being. He wouldn't have turned into a monster if Teppei hadn't been born? Bollocks! I kept thinking of the Princess Bride. “Who kills Humperdinck?” “No one does.” “Geez, Grandpa, why’d you read me this story anyway?”
Last but certainly not least---Where was the justice for Yasuko who was raped by her FIL and humiliated for 30+ years by her husband and then also by his mistress? If anyone deserved her pound of flesh it was Yasuko.
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