Tokyo Story (1953)

[Mr. Arkadin]

Tokyo Story is a film of great truth, but yet is contradictory in style. How could Yasujiro Ozu make such a simple movie about a subject that is anything but simple? The film follows the journey of an old couple from southern Japan who visit their grown up children in the bustling city of Tokyo. The journey is not a happy one, for to their dismay, they find their son and daughter much like the city itself, busy and uncaring. During this journey, one of them will die and the other will be left alone to drift as life continues on.

Shukishi and Tomi Hirayama arrive by train to stay with their oldest son and spend time with their daughter. They also have one son who died in the war (WWII) and will visit his widow, Noriko also. They are dismayed to find that their son Koichi, who is a doctor, is not the success that they had hoped for. Their eldest daughter is even worse--running a beauty salon where the bottom line is always money, not caring for anyone but herself. Only Noriko welcomes and spends time with them. Her husband was not a kind man, something both Shukishi and Tomi know well.

Ozu had made around forty films by 1953. He would die ten years later, but it would not be until 1972 that American audiences would premier his masterpiece. He was often considered the “most Japanese” of the eastern directors of his time, which is shown to it’s fullest measure here. For those who are looking for plot devices or catalysts—there are none. We are simply seeing the passage of time and the cycle of life. It doesn’t matter that this is Japan, it could be anywhere society embraces the concept that the aged are an inconvenience to the young—even though it is to them that they owe their existence.

Ozu’s genius was in making a complex story seem simple. He accomplishes this in a variety of ways: He rarely uses dissolves (where an image is faded out) choosing to use cuts instead. His cuts are quite unusual in the fact that they are usually 180 degree reversals of the original shot. This was almost never done in Hollywood at that time. If you are looking at a man on your left for example, talking to a woman on the right, when you cut to a another shot they are still in their perspective positions. Ozu would bring the camera around and film them on the reverse side. The result is something that is more felt than seen and brings you into the film. Ozu’s play with space and characters within it, help to draw attention to the surroundings of these people, which also help define them. The doctor for instance, lives in a small house with his wife and children who are forced to make room for his parents. With these shots, Ozu establishes the cramped feeling without having to overplay his hand. Another shot of Tomi taking a walk with her grandchild, shows them at distance silhouetted against the sky. This results in an image of age and youth shown to be equally small in the vastness of the universe. Other shots are clues to things in the next frame (such as two pairs of sandals in front of a closed door), or "Pillow shots" that just show parts of the city or nature, giving us a moment to reflect on what we have just seen in the previous shot.

If there is a thread that runs through Tokyo Story, it is that life has many moments. Some of them are joyous, many are not, but all are worth living and experiencing. When youngest daughter Kyoko still living at home asks Noriko if life is disappointing, she nods her head with tears in her eyes, but still manages to smile. Kyoko rails against the heartlessness of the older son and daughter, but Noriko understands them and admits she could be hardened like them if not for other circumstances (Interestingly, she also concludes that it would be very possible that she could turn out just like them in time.). She has felt the void of loneliness unlike the others who will share her experience when their own children leave them. Though all this selfishness, heartbreak, and tragedy, Noriko gives us a sense of hope, that to live within the city is not to be it’s slave.

In conclusion, Tokyo Story is a celebration of life and an acceptance of all the unjust things that lie within it. Like Noriko, we often find life disappointing, but still find a smile is the best defense against despair.

[sugarpuss]

I am really looking forward to this movie tonight--but since it's on so late, I'll tape it probably watch it during the week. I noticed it when I was looking over the schedule at the beginning of the month and thought it sounded really interesting and fairly different than the other usual TCM Import offerings.

After reading through your summary, I'm looking forward to this even more now. There's a lot that intrigues me: the cuts, the characterizations and the fact that there are no plot devices. It just sounds really interesting--but this part: One of them will die and the other will be left alone to drift as life continues on, makes me think I'm going to need tissues. It sounds like a movie that makes you think for days afterwards (which is good, I tend to love those movies the most).

(BTW and a bit off topic: I finally got around to watching "The Hill" last night. I know you recommended it a few weeks ago, but I misplaced the disc and was going nuts trying to find it. Anyway, I really enjoyed it. A lot of strong performances and exciting direction by Sidney Lumet. I'm really glad I taped it!)

[Moraldo Rubini]

Thanks for pointing out tonight's screening of the Ozu classic. I've long been interested in seeing Ozu's works; I only hope I can stay up that late tonight. I may only see the first half!

[Mr. Arkadin]

Sugarpuss, Glad you enjoyed The Hill and thanks for letting me know what you think.

[Mr. Arkadin]

I bumped this old thread for tonight's showing. This landmark rarely shows on TCM, so make sure to see or record it if you haven't already!