Una melodram de rasgos neorrealistas aunque de un optimismo que nace cual perseverancia, una que incluso parece irreal. La imaginación como palabra clave, eso que a vista de otros es absurdo como esa cuarta pared tumbada que pide aplausos al público, pero que encuentra sentido dado el afecto hacia los protagonistas, una suerte de niños grandes soñadores. Mejor que la escena del concierto invisible, es la despedida.
The climax of this film is the sort that should rub me the wrong way, but for some reason (Kurosawa's audacious earnestness?) it doesn't--when the realism built up over the course of the film shatters along with the fourth wall, somehow it feels transcendent, rather than contrived. The earlier scene in Yuzo's leaky apartment is one of the most effective portraits of simple frustration with life that I can remember
One beautiful movie. "Look! Pigs in the lion's cage! The world these days is run by pigs who've gotten fat on the black market." A heart warming story that doesnt lose its sense of reality. Young and in love, broke but optimistic, like Kurosawa does a Truffaut movie. Simple but timeless, honest, and relatable. A classic story arch routes this truely moving love story. "The unfinished synphony hasn't changed."
Kurosawa's 1947 film One Wonderful Sunday possesses so many wonderful scenes (particularly the one where the young couple visits the model home to an absolutely perfectly placed rendition of "My Blue Heaven"). It's a beautiful portrait of occupation-era hardship. And, ultimately, hope in spite of it. The fourth-wall breaking experiment at the end is a curious one, but I have a great fondness for it.
Of the six films Kurosawa made before his first collaboration with Toshiro Mifune, this is my favourite. A charming and bittersweet story of two young lovers with very little money between them who spend a day in the rubble strewn streets of post-war Tokyo. They walk, they talk, they argue, they make up and daydream about a better future. Just a year later Drunken Angel was released and the rest is cinema history....
It's tough being broke and in love in postwar Japan; reality is always getting between you and your dream. So it is withYuzo and his financée, Masako, who try to make the most of the one day of the week they have together. Poverty has eaten deep into Yuzo's morale, but Masako is a powerful yin to his yang: upbeat and imaginative. Kurosawa asks the world of his two actors in this light, tight drama, and gets it