A quiet masterpiece. Setsuko Hara and Chishu Ryu are fantastic, and Ozu's style tells this simple story with such precision and perfection. His signature shots where the actors look straight into the lens, make you feel so intimately connected only to cut out to the big roaring city around them. The work of a true master.
The destruction of family values as capitalism distance ourself from what is the most important thing in life: the people that made us, who we are. Therefore creating the modern slave repeating the same loop of sequences until the end of time. NOTE: The widows face was so creepy to look at
There's something a bit unnverving when they talk directly to camera that I was half expecting something creepy to happen. I like the simple tale of family life but this can be a really dry film, actors seem to show little emotion when their a family and in a room together, though the dad getting leggless was pretty funny. Even back in the 50s family life hasn't exactly changed that much and Ozu brings that to film.
Tokyo Story's high contrast black and white imagery with exquisite depth of field feels otherworldly. Ozu's films are difficult for me because of their slow pace, but their meditative beauty makes me yearn to overcome my impatience. It is hard to imagine anything like this being made today in our time of fast cuts and hyperbolic melodrama. Will I admire this film more when I am old and possibly without children?
Rewatch - all these quoting from the film might give it a wrong view as a preachy film for those who haven't watched while it's not. It's progressive in its narrative and technique, it's subtle in its story, characters' expressions, dialogues and it's dark in its core coated with a calm, reserved manner with smiles, nods, Jap/Asian/Buddhist style
For a film made in 1953, the essence of Tokyo Story hits hard- even in this modern day. You instantly feel sympathy for this cheerful couple. A particular shot that stuck with me was when the Grandmother was chasing the child around in the field. I loved the imagery it gave me, that our parents will forever be chasing us, never being able to catch up and us never slowing down.
3-4. I'd say the biggest issue is probably the lack of conflict through most of the movie. But this is a very nuanced portrait of a family where no one can be entirely said to be good or bad (Shige exemplifies this), with the palpable gap between reality and expectation illustrated most clearly in the scene between Kyoko and Noriko. But it is a wonderful movie for its subtle presentation and human acceptance.
6/5 pela absoluta homogeneidade: cada personagem, cada expressão corporal, cada cenário e cada elemento que o constitui, cada frase, cada silêncio e cada paisagem musical vêm impregnados de um sentido comum e são peça fundamental nesse todo extraordinariamente bem montado. simples, singelo, belíssimo, pungente.
The definition of a realistic family drama. The camera or the technical presentation never seem to want to do anything glossy or beautiful but instead just record action as it happens. The family characters feel like someone you know in your own one and the dialogue makes me sit in reflection afterwards.
Yes, it's a masterpiece, but that status is dangerous. Canon-crawlers new to Ozu are most likely to start here, and this supremely low-key classic is not the best entry point: for that, check out something like Late Spring. Then revisit Tokyo Story and believe the hype, as its initially banal interactions build into a rich portrait of an ordinary family and the forces (both natural and societal) that pressure them.