Perhaps the nicest thing about this movie is that it’s based on a true story. And the acting of Richard Gere. Somehow, both combine to make a simplistically emotional story. A more complicated one would have gone over the top, becoming a tearjerker without heart. “Hachi: A Dog’s Tale” is just that – a story that takes place as much from Hachi’s point of view as it does from his human owner. The love of this dog, as well as other, toned-down actors only adds to this film; no one steals the show here. And while it does have some issues – mostly a lack of depth during some parts – overall this is just a nice story of loyalty, love, and an unbreakable bond.
Parker Wilson (Gere) is a music professor who takes a train to work every day. In the train station he finds an abandoned puppy, whom he finds is named “Hachiko,” or “Hachi.” He takes the dog home and it is only a matter of time until the two are inseparable, Parker soon abandoning his futile search for the dog’s rightful owner. Bonding with Parker at his country home, Hachi soon accompanies him on his daily walk to the train station, invited or not. The townsfolk and station employees take an immediate liking to Hachi and his ritual of waiting for Parker each day as he returns for work. This will work into the story in profound ways by the film’s end.
“Hachi” is filmed nicely, and takes pains to sketch its small town life well. Quaint houses, quiet college hallways, and rustic barns are its backdrops, while passing seasons date the movie along the way. Hachi, of the breed Akita, is also a thing of wonder, and the film takes him from a lost puppy all the way to aged dog with believability (a search reveals this is the result of make-up applied to dull the colors of his coat and weights added to give his ears and tail a ‘drooping’ effect). The human characters aren’t given a lot of backstory, but you get the impression this is a nice place to live, and these are nice people. Some of my favorites are Erick Avari, who plays coffee cart vendor Jasjeet, and Jason Alexander, who sheds his “Seinfeld” comedy for an endearing character, especially when the film swings toward a more somber tone.
The rest of the cast performs well, though some characters are painted a little thinner than I’d like. Gere does a great job here, not attention-grabbing, but playing a role that required little more than flat, monotone delivery and adding a good deal of heart. There is a twist involving his character, given away in the plot description of the back of the Netflix cover sleeve; but since IMDB does not list it in its description, I will not give it away either. However, when later parts of the film require both honesty and terrific acting, Gere delivers. I couldn’t see this movie working with another actor.
Unfortunately, the film’s other players aren’t as well fleshed out. For instance, in the film’s beginning, Parker’s wife (played by Joan Allen) is reduced to little more than a cold, distant figure who doesn’t want the dog around. She of course comes around; but this seems less character development and more a manipulation of viewer’s emotions, where there was probably a nicer arc director Lasse Hallström could have found for her. Sarah Roemer and Robbie Sublett play Parker’s daughter Andy and her husband. Sublett is basically background noise and is mostly glossed over; however, Sarah has one of the nicest scenes in the film, toward its end, as she massages Hachi in her parent’s barn, bonding with Hachi in a way the dog had previously only been with Parker.
Watching the end of this film, you will learn its story is based in reality in a pretty unique way – a statue of “Hachiko,” who waited every day at a train station in Japan for his master, has been constructed at the Shibuya Station. His devotion would teach others about loyalty, commitment and love.
Overall, “Hachi: A Dog’s Tale” is a solid effort. The acting is good, it doesn’t feel overlong, and is enjoyable to watch. It’s sweet, because so much of it takes place from Hachi’s point of view. However, it might have been stronger if more of its latter sections shined the camera on his family as well. This is a family film that will both make you laugh and cry. While it posed the risk for over-sentimentality, it never quite gets there, which is a nice surprise. Its greatest asset is its restraint.
– by Mark Ziobro
