I went to Shoplifters expecting a crime-caper, a film full of ironic humor about a rag-tag bunch who survive through petty crime, but are good people underneath it all. I was not expecting noir, but I'm forced to the conclusion that's what I saw.
I doubt anyone thinks of noir when they see the trailer or advertising for this award-winning Japanese film. Most of it happens in broad daylight. The colors are pretty. The people are happy. Where is the darkness that gives noir its name?
Without wading into the quagmire of defining noir, I will recall that in noir films, novels, and stories, the worldview is pessimistic, the morality is ambiguous and the tone is grim. This is where Shoplifters throws us a curve. The tone is not grim. It is upbeat.
But the morality is ambiguous to say the least, and . . . well, you'll have to see it and decide for yourself whether the worldview is ultimately pessimistic. A case could be made for that.
At the beginning, it appears to be a crime-caper film. A man and a boy move skillfully through a grocery store plying their trade with hand signals and deft deceptions. It's hard not to celebrate with them when they go out for snacks afterward.
On the way home, they come to the aid of a little girl crying outside a house where adults are having a violent altercation. When they take her home with them, it seems obvious they are rescuing her. But soon the question arises: is this a kidnapping?
Throughout the film, we are accomplices in each of the survival schemes, and we cringe as we learn more about what is really going on beneath the pleasant exteriors.
It's noir enough for me.