braddugg A masterpiece in terms of cinematography and introduction of characters.For nearly 5 minutes, we just know there is a troupe coming to town to perform a play. Is this story about the play, or anything to be derived from that, does it relate to the people of the town who are there for the first few minutes, we can hardly make out anything. Yasujiro Ozu the director of this film seems to be a master of intrigue. The beginning is so very intriguing that the first 15 minutes made me sit through the whole film. Also, the unrelated shots that are shot geometrically with perfect symmetry. Be it of the light house, or the rain drops through windows or close ups or long shots. I was amazed by a family drama story being told with such perfection of framing It's a story of a father and so, the father knows the son, but the son does not know the relationship between the mother and this man and only at the end realizes that the man who often comes to his house is his father. There is a confrontation scene that's done well. But above all actors, I loved the acting of the stepmother (don't remember her name) who determines to undo the conspiracy and unveil the relationship between her husband and a woman, he frequently visits. It's a movie, thats simple in many ways but yet the grandeur is bought to it by the intrigue and the sublime cinematography that's done beautifully. Through the journey of this film, I have understood that Yasujiro Ozu himself was one of the finest cinematographers ever. I am going with 3/5 for a movie that is good, but a 5/5 must be given for cinematography alone. This one must be watched for the way camera is handled.

kenjha A theatre troupe comes to a coastal town in Japan, including the leader of the troupe who had previously visited twenty years earlier and fathered a child with a local woman. It starts off with too many characters engaged in random conversations. Although it takes a while for the main story line to emerge, the film becomes more interesting once it gets to that point. As one would expect from Ozu, the acting here is generally good if somewhat theatrical. The cinematography is quite colorful, helped by the picturesque seaside setting. Unfortunately, the plot is rather mundane and melodramatic, with themes of seduction and infidelity more suited to a trashy Hollywood movie.

bandw From the opening scene with the lighthouse in the distance and a bottle on the beach in the foreground (which is worthy of being a famous modern minimalist landscape painting) the view is pulled back to a shot of the lighthouse from between two boats, then to a store front. These shots are the equivalent of a powerful opening paragraph to a novel, they draw you in in anticipation of what is to come. Throughout the film the artistry of the color cinematography does not disappoint. Each scene is composed as if it were a painting and the use of color is singularly striking. A black-and-white viewing of this film would lose about 80% of its appeal.The story is that of a traveling Kabuki theater troupe arriving to perform in a small Japenese village. This is not the troupe's first visit to the village and the leader of the troupe, Komajuro Arashi, had fathered an illegitimate boy there some eighteen years in the past. When Komajuro visits the mother of his son, for the first time in twelve years, complications ensue.Some remark that this is a simple story simply told. As far as its being a simple story, it is no simpler than, say, "Othello," which could be summarized as "Proud soldier meets tragic end due to jealousy." The treatment of the corrosive effects of jealousy, pride, deception, and male ego in "Floating Weeds" make for anything but a simple tale. As far as its being simply told, it is in fact most skillfully told - as the movie progresses the combination of sound and image have a subtle accumulating effect on mood, heightening awareness. It is frequently the case that the *appearance* of simplicity in a work of art, as in "Floating Weeds," is difficult to achieve. The music is a cross between the score for a French comedy and a work of Arvo Pärt, but it adroitly reflects the shifting moods of the film which alternate between serious and comic, sometimes being simultaneously serious and comic. Ozu does not allow his movie to become overly ponderous; it is leavened with humor. For example, when the troupe is enjoying a day at the beach one of the members says with seriousness, "The sky's so blue, it's sad," to which another replies, "Don't be silly, I want to eat a big cutlet."It is difficult not to be offended by Komajuro's physical abuse of his mistress, his son, and his son's lover. And the general acceptance of male dominance is hard to digest. I am not sure what we are supposed to feel about Komajuro at the end, but I found that his particular personality flaws distanced me from any deep caring about him or his fate. I had more concern about the future of his son and the women who were involved with him.

Atavisten In a week I saw this movie three times. Why? Because its charm really got me, it should get you too! Set on an small island in the warm southern Japan summer, a struggling kabuki troupe comes by boat to stay there for a few shows. They actually stay much longer than that because the leader of the troupe has some personal matters here.The characters in this movie felt so real its as if I know them. And I think back on them fondly. I and the cynic, but unexperienced son (was it Kiyoshi?), the jealous femme fatale Sumiko, the lovely mother of Kiyoshi, the sweet flower Oyoshi and the others are almost like friends. Ozu succeeds in getting the very best out of the actors so they cease to be actors. Best is Kyô Machiko as Sumiko and Nakamura Ganjiro as the troupe leader. I am not all convinced on Kiyoshi though, esp. during the Sumiko confrontation.Stylistically this is a perfect film. Camera is fixed in well composed shots and we get to mediate on the surroundings and the people and let it all sink in. Look out for the quarrel scene, its simply one of the most powerful scenes I've seen.Music carries the feelings in the movie even if its just too simple songs (that I remember). The heat is felt and I'm there sweating with them.Some noted that this is good soap opera, I disagree, this is drama of the highest order, the kind of drama you don't see much in movies at all. This was my first Ozu, and its not everybody's favourite it seems, still its hard to surpass this..