In simple and still composition and, not exactly muted, but toned down emotion, Ozu is able to generate slow boiling energy and undercurrents of feeling to evoke great and genuine beauty and emotion. It brings such poignancy and warmth to scenes such as when one of the children breaks down in tears after the old man praises and thanks her. It takes skill to make a film that feels like it earns those moments.
A relentlessly dark poem about the futile and self-defeating results of choosing life over death. A camera was invented to capture objective truth and Tokyo Story, with its fixed pictorial compositions, attempts to capture reality from a somewhat distant perspective, and in doing so it reaffirms the central theme at the heart of all of Ozu’s film - the absolute, intrinsic loneliness of human existence.
The only other Ozu I've seen besides this is Good Morning and Early Spring (which I loved and liked, respectively), but this seemed sort of contrived and obvious by comparison; t felt like a character delivered the theme of the story in an elevator-pitch style line of dialogue once every half hour. I respect its influence and admire its acting and sense of place, but feel little enthusiasm for it taken as a whole.
Magnificent and tender. Ozu's great strength lies in his failure to cave into expectations and define his story in the first 10 minutes, instead immersing us in the wonderful complex lives of his characters and patiently waiting for them to do something interesting.Things will happen, whether you force them or not, and Ozu has the bravery to sit back and watch his film as he creates it. 4.5/5
It's so hard to find the right words to describe this film. I think it's so striking particularly because of its subtlety. The "contemplative" atmosphere is like a first dimension, a picture to submerge in. What's behind that is an inside world of overwhelming depth and truth.