krocheav It surprises me to find Tokyo Story regarded as one of the greatest Films of all time. I doubt many of today's audiences, both the young and not so young, would know how to watch a film like this. At first it deceptively seems more like a simplistic documentary - one with very little shape or substance, about the distances between families - then, as it moves slowly forward it begins to unnerve the patient viewer by introducing undertones - feelings and thoughts that each of us may (should) experience at some time in our lives. I'm also sure many who attempt to watch this film won't even get past the first 15-20mins. And, it will be these folk who will die without ever allowing themselves to fully experience the real-life family emotions that motivate this fine work. So, it's with great pleasure I find this curiously simple (yet complex) movie being so highly regarded between differing cultures. In some ways, it made me think of the Michael Powell/Emeric Pressburger British classic "A Canterbury Tale". While it's true there may be little to compare between the two, they each brought a rich reward to the thoughtful viewer who stayed to the end. Sensitivity is a gift many lack. The remastered (Criterion) DVD releases are to be commended for quality; the one I screened was the Madman release. Now to find the 1937 American film this Japanese story was inspired by; "Make Way for Tomorrow".

elvircorhodzic TOKYO STORY is a film that has a moderate tone, unobtrusive style and quiet family story. An elderly couple from the provinces coming to Tokyo to visit their grown children. The story shows how the children, preoccupied with their daily lives, do not show enough care for their parents, as opposed to the former daughter-whose husband died in the war. At first glance, everything in this film seems simple and clear, but on the other hand is a sensitive topic and family discord, somewhat generational conflict with fairly deep emotions without excessive melodrama.Staff are interesting, a little strange, however, show sincere emotion without many words. Of course, you need to understand Japanese culture, which I somehow fascinated. The story can be identified three generations of which is the oldest in a harmonious relationship. Although it can be concluded that it is not always the case. The younger do not have time for yourself and not for others.Most people do not live. Survive. Understanding and tranquility in fact represent the fund in relation to the sentiment and satire. People consciously or unconsciously influence the lives of others. People woven in one's life are there, even when they are not physically present.Setsuko Hara as Noriko Hirayama really is a beauty. She plays a woman who has all the prerequisites that clearly says "Life is disappointing", but again full of mercy, kept calm and beautiful smile that does not come off from the face. Well, sometimes that smile accompanies large tear.

WILLIAM FLANIGAN Viewed on DVD. This is a plain (shomin-geki) film ostensibly about plain (and not especially attractive) folks using a plain (impoverished) script with: plain (for the most part) acting; plain (often obscured or obscuring) sets; a plain (and often "wandering-about") film score; and plain (and very simple) camera work. To call this static, soporific, house-bound film a "movie" would be a stretch. Nothing much seems to move, and the attributes that render the motion picture a unique art form are pretty much ignored. A "filmed pseudo stage play" might be a more apt description. That said, the director seems to effectively reflect aspects of the contemporary trauma faced by a country whose long-standing (ancient) traditions are in the midst of serious migration in the aftermath of losing a disastrous war. Issues explored include: the ramifications of children no longer traditionally carrying for their aging parents (or wanting to); dealing with the loss of loved ones in the military service; facing rebellious (rather than obedient) children/grandchildren; living in cramped city apartments with dirty hallway; and the emergence of home-based businesses to just get by financially. The character actors who play the aging grandparents are principal weak spots. The actress playing the grandmother over wears a stoic mask; her face rarely reflects the different emotional lines she delivers. The actor who plays the grandfather is seriously miscast. He usually exhibits a goofy expression; lines reduced to continuously repeating "pause words" (like "aahh") and variations of SO DESU KA ("really?", "is that so?", etc.) don't help matters (due to an impoverished script) . Often characters are seen looking out at things which are never shown to the audience (like in a stage play). The director seems to have a fetish for clothes (including under garments) drying on laundry lines. Some scenes show only laundry drying and many scenes have laundry lines in the foreground or the background (surprisingly, there are no scenes of clothes being washed!). Subtitles and video/audio restorations are fine. Bottom line: Unless you are interested in 20th Century Japanese cultural chaos, best to skip this one. WILLIAM FLANIGAN, PhD.

quinimdb "Tokyo Story" is an incredibly poignant film by Yasujiro Ozu about grandparents tonwards the end of their lives that visit their children.The children, however, while trying to be respectful, simply don't have time for them (or don't want to have time for them) and therefore the grandparents seem to be a burden to them. Shige even seems to dislike them, and insults them on certain occasions, but not in an over the top way, but rather a pretend playful way. Many of the shots are in frames within frames and I think this is to emphasize the different worlds that each generation inhabits, and how they are separated by age. It is also composed of mostly low angle shots and seemingly 2 dimensional compositions. There are many poignant moments in the film regarding time and age, all ending with a sadly realistic but silent ending. The first is when the grandmother, Tomi, is with the youngest grandchild outside. The child has his back to the grandmother while she asks him what he wants to be when he grows up. He doesn't respond, but she thinks about it anyway. Then she states that she might be dead when he is grown up, and she follows him as if to try and reach back into her youth.The grandparents are sent to a spa at one point by their children, but the spa ends up being too lively for them. This shows that maybe they are getting too old for the world, and their time has passed. This is the first time they are visiting Tokyo, but at this point they may be too old. When Shukishi, the grandfather, gets back together with his friends that he used to drink with (apparently too much), we get the feeling that it isn't like it used to be. It's a much more depressing time. One of his friends expresses his disappointment towards his sons low position in work, and his regret for raising him the way he did. He also mentions that losing a child is hard, but now living with them can be just as hard. Shukishi feels similarly toward his son who is simply a neighborhood doctor, but he says that times change, and you can't expect too much for your children. His other friend has lost all of his children. He doesn't say a word throughout the whole conversation other than mumbling drunkenly. Tomi stays with Noriko, her daughter in law who was married to the son that died. Tomi isn't related through blood, but does more for them than any of their real children. Tomi is desperate for her to get remarried, since at this point she knows how lonely she will feel without a husband on her older age.When Shukishi and Tomi reunite, Tomi gets sick on the train, and before they know it, she is in critical condition. She dies soon after, but it's important to remember the fact that Ozu never gives in to the usual sentimentality films usually resort to in order to make you feel something. It has an ear for the usual happenings of life and the silence in between the dialogue, as well as the small talk we resort to so we don't have to open up about our doubts and fears and hopes and regrets.They visited one of their grandchildren, Keizo, before she went into critical condition, and it shows him joking that he must be a good grandchild to them because you can't be a good grandchild to them while they are in the grave. But despite him first considering the encounter as a nuisance, once he finds out Tomi is dead, he can't bear the idea that she will just be lost in the sea of graves that he sees before him. He admits he wished he spent more time with her. He simply didn't realize how fragile her life was. Shukishi stays away from his children when he hears about the death of his wife, but doesn't cry. He is simply empty. He gives Noriko his wife's watch as she was their only true child through all of this. She thinks she doesn't deserve it because sometimes she "goes for days on end not thinking about him (her ex wife and their dead son)", but this isn't about him. It's about her, and her kindness. For the first time since her husband she feels loved, and she ends up with the happiest of the endings. Shukishi then goes home and sits. Alone. Probably for the rest of his life. Sadly, it's also implied that they didn't get along for much of their marriage, so it wasn't that loving to begin with. And if we don't end up at that point eventually in our lives, then we will probably be dead. That's the sad truth of life and probably the true ending after Norikos happy ending. Children grow away form their parents, and parents grow old."Isn't life disappointing?" Kyoko asks. "Yes, it is" Noriko responds, smilingly.