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Tokyo Story - Criterion Collection Actors: Chishu Ryu, Chieko Higashiyama, Sô Yamamura Director: Yasujiro Ozu Number of Items: 2 Picture Format: Academy Ratio Format: Black & White, Color Audience Rating: NR (Not Rated) Running Time: 135 minutes Studio: Criterion Collection Aspect Ratio: 1.33:1 Region Code: 1 Product Group: DVD Release Date: 2003-10-28 Buy from Amazon |
 "Grace and simplicity = timeless masterpiece"Continually voted into the Sight and Sound poll as one of the top 10 films ever made, "Tokyo Story" is a great introduction to Ozu's work, and Japanese cinema entirely. Made in the 50's, the film hasn't aged at all: it's a film for all generations. The plot is very simple: An elderly couple visit their children, who are too busy to spend time with them. Their children continue to avoid them, purposely (even sending them off to a spa at one point), until a death brings all of them together, but only temporarily. That's the plot. But what emerges is a very *human* film, as the strongest human emotions are displayed on screen, and suddenly you feel the same emotions, and start thinking about your own life and your relationship with your parents. Even though Ozu is labeled as "the most Japanese" director, the themes in "Tokyo Story" are universal. Ethnicity doesn't matter. Age doesn't matter either; this movie makes an impact on adults as well as their children. And Ozu does all of this rather effortlessly. Nothing in the plot seems to unfold by surprise; things just happen. No fancy camera tricks either; in fact, almost no camera movement at all. The camera moves only twice in this 2+ hour film. All of these factors contribute to the greatness of the film, a film that we can learn a lot from, and one that we can return to every couple of years. And it is all done in the simplest manner possible. Criterion did a great job with the film. The film looks better than the VHS version, and the subtitles are easier to read. There's still a lot of grain and flickering, but one can only guess that the film itself was beyond major reparations. The commentary is informative (You'll learn a lot about Ozu's meticulous planning in each scene), and the extras, such as a 2 hour documentary on Ozu's life and work, will only result in you wanting to see all of his films. Supposedly more are on the way from Criterion, so stay tuned.  "not worth watching"i would give this film zero stars, but it won't let me. this is a realist film. it's long, and it's boring. not that i hate realist films. but this one is predictable, and i was waiting the whole time for the end to come. i guess i'm just unsympathetic to what others called "insight to the human condition." just because others consider this a classic, doesn't mean you have to. "Essential"This is vintage Criterion: good image quality and great extras (a detailed commentary and a biography of the director). "Honor thy father and thy mother..."Mr. and Mrs. Hirayama pay a visit to their adult children who live in Tokyo. "They must be looking forward to your visit" says a neighbor. In reality family gatherings cause always trouble: Workaday life is upset. Hosts feel obliged to make a fuss. Koichi, their eldest son, a paediatrician, lives in a suburb. He accomodates his parents in the children's room - an annoyance for his teenage son, who is suddenly eager to learn for a school-test. Noriko, the widow of their second son, is genuinely pleased to welcome her in-laws, quite in contrast to Shige, their eldest daughter: This fortysomething hairdresser feels ashamed for her overweignt mother...After dinner (No fish. Sukiyaki will do) they talk about the weather (hot) and old acquaintances. Soon the topics of conversation are exhausted. Shige's husband volunteers to take his in-laws to a variety show, but feels relieved when his wife talks him out of it. Koichi plans to take his parents to a department store, but an emergency gets in his way. His mother understands: " A busy doctor is a good doctor". She wonders if she will live to see her grandsons grow up. So far, the Hirayamas have not seen much of Tokyo. At last Koichi takes them to the public baths and treats them to ice-cream. Shige envies them even expensive cookies. She persuades Noriko to take them on a sightseeing tour. Noriko is glad to oblige and plays the tourist guide. She really likes and respects her in-laws, although her marriage to their son - missing since the war - was not a happy one. In the meantime Shige prompts her brother to club some money together and send them to Atami-Spa, a health resort. Swimming and siesta are much healthier for senior citizens than sightseeing in Tokyo - and less expensive. And so the Hirayamas bathe in hot springs and think their children spent a lot of money. But Atami is better suited for young people. Turbulence, mosquitos, and the house-maids spy on honeymooners...Mrs. Hirayama has a sinking feeling. They decide to go home. Shige is unable to conceal her indignation when her parents turn up again. She disavows them ("friends from the country") but feigns love ("I wanted to take you to the theater"). They don't want to bother Koichi again, Noriko has not enough room..."We've become homeless at last". But Hirayama's little joke sticks in his throat... He calls on some old comrades and discovers that they envy him: "you can be proud of your children". The others have lost their sons in the war or are estranged from them. Those old men do not think highly of the younger generation: "They lack spirit, they lack ambition", but Hirayama understands that "We expect too much of our children". While his wife spends the happiest night of her journey with her sympathetic daughter in law, the pitiable shige has to give shelter to her drunken father and his buddy. Next morning the Hirayamas say goodbye to Tokyo and protest: "You've been very kind to us. We've enjoyed our trip". Soon Koichi, Shige and Noriko receive word from Keizo (Their youngest son who lives in Osaka) that his mother has fallen ill. And so, Mrs. Hirayama dies in the midst of her family - except Keizo, who arrives too late. Shige blames him. Her own conduct is above reproach - she is the only one in mourning...Speechlessness reigns during the obsequies, but the family unbends during the funeral repast. They lodge their claims - Shige wants mother's kimonos - their jobs and a baseball-game are waiting...Kyoko (the youngest daughter who still lives with her father) boils with rage: "They're selfish. Wanting mother's clothes right after her death!" but Noriko soothes her. Mr. Hirayama returns his thanks to Noriko: She should pursue her own happiness. Marry again. He is resigned to his lot. Days fade away slowly for a lonely widower... One has to see how contemporary filmmakers depict the duties of grown-up children to perceive to greatness of TOKYO STORY. DAD (1989) blackmails the audience with its poisonous sentimentality and MA SAISON PREFEREE (1993) demonstrates that the forced avoidance of sentimentality is equally calculating. A Hollywood director would have allocated the climax differently: Mother dies. The children repent. The unloving daughter is punished. But Ozu does not serve a leveled taste. The veracity of his storytelling and the clear-viewed performances make his films so immensely stylish. Simple, but nothing more is needed. This sense of decency leaves the audience not depressed but elevated, exalted. It's nearly an honor to watch Ozu's films. "Never before have I been so moved by a film"Ozu's "Tokyo Story" is simply the most emotionally profound film I have ever seen. It is the sort of film that, after seeing it, may easily change you. I originally purchased the film because I was incredibly interested in the "Ozu style". There are many aspects of this little Japanese man's style, including shots of nature to break up the story, the tatami mat camera angle, the unmoving camera, and the shooting of characters speaking directly into the camera (which makes it all the more profound, it puts the viewer into the story). Ozu scarcely EVER drifted from this style, therefore it MUST have been quite incredible, for he never had the desire to change it. However, although I was compelled by the extremely elegant filmmaking style, it was the emotional impact that sticks with me the most. The story felt very slow as it unwound, with much of the dialogue feeling very small talk-ish. However, despite the fact I was initially disappointed by this small talk-like dialogue, by the end, I realized this slowness of developement made the end all the more powerful. This ending was so powerful that I was completely in tears for the final half hour or so of the film. This film was SO profound that I felt moved upon viewing it. Near the end of the picture, when one of the daughters stated "Life is too short." I was moved. I felt compelled to go out and live it up, for life IS too short. I also realized that I need to be much kinder to my parents, for they give me so much, and they will not be around forever. As is said in one of the more famous and compelling lines from the film, "One cannot serve his parents from beyond the grave". You will be moved beyond words by one of the greatest films of all time, Yasujiro Ozu's "Tokyo Story" |
