‘Diary of a Mad Old Man’ Review: Wayne Wang and Fan Bingbing Unintentionally Find the Boredom in Sex and Death
Wayne Wang’s latest film adapts Jun’ichirō Tanizaki’s 1961 novel into a contemporary setting, casting Lily Franky as a stroke‑stricken retiree and Fan Bingbing as his daughter‑in‑law. The director softens the original’s raw sexuality, focusing instead on aging, dementia, and familial tension, resul…
Wayne Wang’s newest feature, a cinematic reimagining of Jun’ichirō Tan Zaki’s 1961 novel Diary of a Mad Old Man, brings a quiet, contemporary lens to a story that has long been celebrated for its unsettling exploration of desire and age. The film stars Lily Franky as Utsugi, a retired intellectual who, after suffering a stroke, finds himself obsessed with his daughter‑in‑law, Satsuko, played by Fan Bingbing.
From Classic Novel to Modern Screen
The original text is a first‑person narrative that offers a raw, unapologetic look at the protagonist’s perverse lust. Wang, however, chooses to shift the tone. In the opening scene, Utsugi is shown in a cramped office, his hand trembling as he attempts to masturbate under a desk—an act that is quickly abandoned in a single, almost comedic shot. This moment signals the director’s intent to tone down the explicitness that the novel’s readers might expect.
Screenwriter Kelvin Wyles, making his feature debut, follows Tan Zaki’s broad plot but rewrites the narration to soften Utsugi’s self‑awareness. Where the novel’s narrator declares, “Even though I am sentimental and given to tears—my true nature is perverse and cold‑hearted in the extreme,” the film presents a more sympathetic, if still unsettling, version of the character.
Visual and Narrative Updates
Wang’s production design cleverly blends period and present. The film opens in traditional Japanese attire, and it takes eight minutes before any character appears in contemporary clothing. Once the shift occurs, subtle modern touches—such as Utsugi passing a vape to Satsuko—anchor the story in today’s Tokyo, specifically the upscale Ginza district.
Franky, at 62, convincingly portrays a left‑paralyzed man, avoiding over‑the‑top physical caricature. Bingbing’s Satsuko, meanwhile, moves beyond the novel’s fashion‑forward, exploitative persona. The film gives her a backstory, revealed through a reflective monologue that hints at trauma and longing, though it does not fully flesh her out into a fully rounded character.
Shifting Themes: Desire, Dementia, and Family
One of the film’s most noticeable departures from the source material is its treatment of Utsugi’s condition. Rather than a simple stroke, the story suggests late‑stage dementia, adding a layer of vulnerability to the character’s obsessive desires. This change places the film in conversation with recent works that tackle elder sexuality and cognitive decline, such as Yoshida Daihachi’s Teki Cometh and Sarah Friedland’s Familiar Touch.
In a pivotal scene, Utsugi confronts his son, revealing that his lust is not merely a fleeting craving but a symptom of his deteriorating mind. This confrontation, while emotionally charged, feels more like a quiet confession than a dramatic climax, contributing to the film’s overall subdued atmosphere.
Why the Film Feels Dull
Despite its ambitious updates, many viewers find the film’s pacing and tone underwhelming. The director’s decision to soften the protagonist’s perverse edge, coupled with an emphasis on contemplative moments over visceral ones, results in a narrative that feels “Ozu‑lite” rather than the black‑comedy intensity of Tan Zaki’s original.
Moreover, the film’s new plot threads—such as the crow nursing scene and the jewelry purchases—do not add significant depth to the story. They appear as filler rather than transformative elements, leaving the audience with a sense that the adaptation has lost the sharp edge that made the novel a classic.
What’s Next for the Film
With the release of this film, Wang has sparked a conversation about how classic literature can be reinterpreted for modern audiences. While the adaptation may not satisfy purists, it opens the door for future filmmakers to explore themes of aging, desire, and mental health in new ways.
As the film circulates on streaming platforms, critics and audiences alike will continue to debate whether Wang’s restrained approach does justice to Tan Zaki’s provocative narrative or whether it dilutes the story’s core impact.
In the end, the film remains a bold, if uneven, attempt to bring a 1960s Japanese classic into the 21st century, offering a new lens through which to view the complexities of human desire and the frailty of the human body.
Why it matters
The adaptation highlights how contemporary filmmakers grapple with translating complex, mature themes from literature to screen, prompting discussions about aging, sexuality, and mental health in modern cinema.
Key points
- Wayne Wang tones down the novel’s explicitness for a contemporary audience.
- Lily Franky and Fan Bingbing bring new depth to classic characters.
- The film shifts Utsugi’s condition to dementia, adding emotional nuance.
- Visual updates blend traditional Japanese elements with modern Tokyo settings.
- Critics argue the film’s subdued tone dilutes the original’s intensity.
Frequently asked questions
What is the main difference between the novel and the film?
The film softens the protagonist’s perverse desires, focusing more on aging and dementia rather than explicit sexuality.
Why does the film set scenes in Ginza?
Ginza’s upscale atmosphere underscores the contrast between Utsugi’s past intellectual life and his present struggles.
How does Fan Bingbing’s performance differ from the novel’s description?
She adds a traumatic backstory and emotional depth, moving beyond the novel’s portrayal of a purely exploitative figure.
