German director Wim Wenders travels to Japan to explore the world of one his “masters” in cinema, Japanese celebrated film director Yasujirô Ozu. Sequences of Wenders’ view of Japan alternates with encounters and interviews with crew and cast-members of Ozu’s films.
Werner Herzog and Chris Marker comment on the many ways to see Ozu’s work. Wenders visits Ozu’s tomb, meets the great actor Chishu Ryu and cinematographer Yuharu Atsuta. His “pilgrimage” becomes a diary of a visit to Tokyo “without Ozu”, and a commen full of melancholy and nostalgia upon Japan’s fate since Ozu’s time. He says: “I speak to you of the most beautiful films of the world. I speak of what I consider to be a Lost Paradise of cinema.”
Born in Dusseldorf just after the end of World War II, German film director Wim Wenders grew up with an insatiable appetite for American movies. Not all that interested in big-budget products, he, instead, developed a fascination with B-movies, notably melodramas and Westerns. After studying Medicine and Philosophy in his native country, Wenders took up art in Paris (a mecca for viewing American films), and then returned to his homeland to attend Munich’s Academy of Film and Television. Like many of his French movie-fan brethren, Wenders began his career writing film criticism before directing a few short subjects of his own, and, in 1970, he and several other young filmmakers formed a production-distribution firm, Filmverlag Der Autoren. Summer in the City (1970) was Wenders’ first feature film, but it was his 1973 adaptation of Nathaniel Hawthorne’s The Scarlet Letter that first brought him attention outside of Germany. The film included many accomplishments, most notably coaxing… read more
A cinefilia de Wenders já foi citada aqui (ver resenha de "A trick of light"), mas "Tokyo-ga" consegue não só homenagear o cinema, na figura do mestre Ozu, mas também ser um documento de busca interior, um documentário sobre o vazio - e a busca de preenchimento - da vida em uma megalópole em mutação como Tóquio. Em tempos de curtição retrô, ver a capital japonesa no auge do seu desenvolvimento 80's não tem preço!
With Wenders’ name back in circulation with the release of Pina, we discover the great music from another of his documentaries.