Childhood is a challenging time, and no one seems to understand this better than Kon Ichikawa, whose exceptional comedy Being Two Isn’t Easy (Japanese: 私は二歳) is one of the most heartfelt and hilarious glimpses into the trials and tribulations of parenthood ever committed to screen. A charming and irreverent piece of filmmaking that demonstrates a keen understanding not only for the experience of bringing up a child, but also what it’s like to be young and naive, Ichikawa crafted an astoundingly fun film that doesn’t take itself too seriously, while still being fearless enough to not avoid some of the more difficult conversations that tend to be overlooked in such stories. Not a particularly major work in terms of the premise or the execution, Being Two Isn’t Easy is the kind of film that burrows itself into your heart from the first moment, where its happy-go-lucky disposition, and persistent attempts to incite nothing but joy in the viewer, is a major reason why this is something of a masterwork in terms of its structure and how it finds the humour in some of the more dire discussions that needlessly play a role in this kind of narrative. Ichikawa truly did something extraordinary with this film, putting together such a surprisingly gleeful portrayal of both sides of the parent/child relationship that is as grounded as it is enchanting, persistent in bringing a sense of magic to a familiar story that should resound with everyone, even those who haven’t experienced the pure chaos of raising a child, and functions as an essential work for parents and non-parents alike, all of which will undoubtedly get some pleasure out of Ichikawa’s unique portrait of childhood.

Breaking it down, it’s not difficult to understand why Being Two Isn’t Easy is such a triumphant success. Ichikawa understands the constraints present in these kinds of stories very well, and instead of trying to overcome them, he creates something that feels incredibly authentic without losing that spark of madcap energy that inspired it. Many have compared this film to the Look Who’s Talking franchise, which undeniably owes something of a debt to this film, even inadvertently, since the entire idea of a coming-of-age story told from the standpoint of a toddler can really be traced back to this as one of the pioneering entries into the sub-genre. However, Being Two Isn’t Easy is superior for a number of reasons, one of them logically being that Ichikawa is not only a fantastic storyteller, but he’s also an incredible visual stylist as well, and this film in particular has a sense of detail that we’d not expect from something with as broad a premise as this. Perhaps the best descriptor would be to call Being Two Isn’t Easy a work of magical realism more than anything else – the kind of grounded story that isn’t afraid to take a few brief forays into the realm of light absurdity to supplement the story and demonstrate the underlying eccentricities that motivated it in the first place. It creates thoroughly compelling viewing, while never being distracting in diverting attention away from the more genuine moments, with these momentary glimpses into a more surreal world – mainly manifesting in scenes where we hear the inner monologue of the baby, or the few stunning scenes where animation is used to paint a picture of the world as a toddler would see it – being complementary to the broader ideas, working in tandem with them to create an unforgettable tableau of childhood.

Ichikawa takes a bilateral approach to the underlying premise of Being Two Isn’t Easy, presenting audiences with the overlapping stories of a baby being brought into the world, and his parents, who undergo their own challenges in raising a child. The use of two separate but interwoven perspectives is a very interesting one that may appear jarring at first (especially when the film tries to establish a timeframe, which is done in a very subtle way that only pays off in the final moments), but comes to be one of its biggest merits the further we venture inwards. Ichikawa doesn’t put together a straightforward narrative, instead employing an episodic approach, where the film consists of various short segments that offer insights into the lives of these characters. This creates the sensation of the director providing us with snapshots into the early years of the main characters as parents, showing them in various situations that should be familiar to all of us who have ever been around children in their formative years. We see visits to the zoo (where the baby naturally gets lost, but to the worry of his parents), the park and family, with Ichikawa spending the final act of the film focusing not only on the parent/child relationship but also the bond between a grandparent and their grandchild, which has been endlessly noted as one of the most beautiful relationships for any individual, should they be lucky enough to experience it. The execution of Being Two Isn’t Easy is sometimes vague and leaves some information up to the viewer to discern, but while these ambiguities would normally be seen as a flaw, the film executes them with grace and precision, and creates a wonderfully comedic portrayal of the formative years, both in terms of a child entering into the world, and his parents coming to terms with the daunting challenge of raising him in a very strange, intimidating world that is not too dissimilar to what we see represented in everyday life.

However, as charming and upbeat as Being Two Isn’t Easy may be, it doesn’t avoid having some serious conversations as well. This isn’t only a story of a child going through their first two years of life – the parents are just as important to the narrative, and the story navigates their own quandaries regarding becoming caregivers. Produced less than two decades after the Second World War, Being Two Isn’t Easy was made in a time when Japan was still rebuilding, so a child wasn’t only a bundle of joy, but an investment that needed to be carefully considered. Discussions on the cost of raising a child persist throughout the film – the couple debates whether having another child is a wise choice, with Chiyo insisting that she wants several children, as they bring so much happiness to one’s life, while Goro is vehemently opposed to it, but only because the life of an office worker doesn’t lend itself to such decisions. The film deftly navigates these tricky themes, because while it may seem dehumanizing to look at children as entities that are intrinsically related to economic issues, it’s done in a very respectful and insightful way. There’s a lot more to Being Two Isn’t Easy than what we see on the surface, and despite being quite a small and quaint comedy, it doesn’t avoid the more impactful material. There are some moments in this film that take quite a dark turn – a few scenes where a child’s life is in danger, such as when a baby falls from a balcony and is swiftly caught by a passing pedestrian, or when the main character is nearly smothered when playing with some plastic packaging that wasn’t disposed of properly. These function to give the film some depth and prevent it from being too mindless, with Ichikawa making sure that there is always something to say throughout this film, meaningful conversations that contribute to the wider discourse, without being too overtly moralistic to take away from the entertainment value that underpins this wonderful film.

Being Two Isn’t Easy is a true gem of a film. Kon Ichikawa momentarily stepped away from his more traditional films, which was very often focused on more dour issues, and instead presented us with a more heartfelt story, a deft combination of outrageous comedy and insightful drama. The film manages to find poetry in the most mundane situations, showing us moments as simple as a visit to the zoo, or a trip to the playground, that are so often taken for granted, but repurposed as amazing moments of wonderfully poignant human comedy. It presents parenthood as the most joyful experience, albeit one that comes with its fair share of challenges, which the film navigates so beautifully, never resorting to overly saccharine sentimentality, nor preaching to the audience. It is a film defined by its unusually effervescent rapport between the story and the themes it represents, being remarkably down-to-earth, while still not baulking at the opportunity to have some fun with the premise. Being Two Isn’t Easy goes in some unexpected directions, and remains quite unique, even when it is relaying some incredibly common events, all of which eventually converge into this work of pure, unhinged delight that is positively bursting with joy, and never abates from its persistent attempts to be one of the most thoroughly entertaining glimpses into childhood, from both perspectives. It’s a very special film, and while it may appear relatively slight on the surface, there’s no doubt that it is an astounding achievement if we look beyond the adorable subject matter and see how much emotional heft this film actually carries, and how it deals with some serious matters to be as deeply enjoyable as it was.