(Originally written November 15, 2004)

Yasujuro Ozu is the greatest director when it comes to connecting with the audience on a personal level. What makes his films so powerful is that he is able to do so much emotionally and artistically with very few techniques that others would consider virtuosic. There are approximately nine shots in which the camera moves, and the movement is carefully planned each time. A camera movement or facial expression is never wasted in an Ozu movie. This film examines familial relationships as most of Ozu’s films do. Actor Chishu Ryu once again proves his acting magnificent acting ability, moving from playing the son of Chieko Higashiyama in Early Summer to her husband in two years later in Tokyo Story. This film understands the harsh reality of generational differences yet is able to recognize the beauty in the world and move on. The father, played by Chishu Ryu, observes, “[My sons] take after me more and more, but only my bad side. It’s a pity.” It is lines such as these that resonate with an aching sense of honesty that people are able to relate to. Ozu’s films are about everyday people and the struggles they face, allowing the audience to make personal connections. Also consider when the child is scolded by his father for expecting his toy train tracks from his father but only receiving bread. As a result, he disrespectfully kicks the bread on the ground. While this act is selfish, the audience sympathizes with the child who leaves the house crying and wanders around alone for hours. “Children are sensitive. You shouldn’t scold them too much,” says one of the characters to Chishu Ryu. These small details help to bring out a sense of beauty to the story. Although Japanese culture plays such a crucial role in Ozu’s films of his films, his films are still powerfully universal in their messages.