Watch Tokyo Story For Free
An old couple visit their children and grandchildren in the city, but the children have little time for them.
|Studio :||Shochiku Co., Ltd.,|
|Crew :||Art Direction, Director of Photography,|
|Cast :||Chishū Ryū Chieko Higashiyama Setsuko Hara Haruko Sugimura Sô Yamamura|
What a beautiful movie!
The Age of Commercialism
There is, somehow, an interesting story here, as well as some good acting. There are also some good scenes
Tokyo Story (Japanese: Tôkyô monogatari) (1953) An earnest story, Parents' final visit with Ungrateful children. Elegiacally shot, Timeless tale with much to teach. I tried really tried, To love this critic's darling. Though praised Ozu's art, Pendulum's steadfast slow pace, Characters hard to relate. Somonka is a form of poetry that is essentially two tanka poems (the 5-7-5-7-7 syllable format), the second stanza a response to the first. Traditionally, each is a love letter and it requires two authors, but sometimes a poet takes on two personas. My somonka will be a love/hate letter to this film? #Somonka #PoemReview
Tokyo Story won't appeal to movie-goers of all kinds but will definitely attract those who enjoy slow-paced character studies with relatable themes that make us think about ourselves and those we love. This 1953 masterpiece depicts an older couple living in country side Japan visiting their children in Tokyo. As they visit their family they receive colder welcomes than expected with the exception of an exceptional, widowed daughter in law. Yasujiro Ozu manages to paint a rather unsettling portrait of post-war life in Tokyo with a strong disconnect from family and a hopeless feeling of loneliness as the couple drifts in the overwhelming landscape of Tokyo. It's obvious great care was taken into the script by the authentic dialogue and humanistic tone of the scenes. The film beautifully explores themes like younger vs older generation gaps, meaning of life in contrast of war, loneliness, and the roles of children and parents.It's not easy examining a clear cut story structure but the story seems to be the daughter in law's story as she fills the slot of the audience as an observer watching the family treat each other. Yet, enough character payoff happens to allow some catharsis. While the structure is hard to examine, Tokyo Story feels as complete and thorough as any film can be. Anyone looking for a deeper and methodical character piece, Tokyo Story is not only highly recommended, it's an incredible study that gets better as each viewing passes and more time passes to mentally digest the film's depth. While it may not appeal to everyone, it most certainly is study reference material for any would be filmmaker on several narrative levels.
An elderly couple leaves their hometown Onomichi for Tokyo. They visit their children, but children are busy and cannot spare time for the parents. Ironially, only the wife of their second son who was killed in the Second World War is concerned about them.This film shows a simple ordinary life realistically. It made me think about family bonds and parent-child relationship again.Although there is no showy scenes and special event in this film, I don't know why but, I was fascinated by this story.This film was made 64 years ago, but I was able to accept it easily. Also this film is rated very highly not only in Japan but also in the world.I think the reason "Tokyo Monogatari" is liked by a lot of people across the border and generation is that it describes human nature thoroughly.Setsuko Hara's acting is very good and she is a person with presence.I want to watch other films directed by Yasujiro Ozu.
Viewed on DVD. This is a plain (shomin-geki) film ostensibly about plain (and not especially attractive) folks using a plain (impoverished) script with: plain (for the most part) acting; plain (often obscured or obscuring) sets; a plain (and often "wandering-about") film score; and plain (and very simple) camera work. To call this static, soporific, house-bound film a "movie" would be a stretch. Nothing much seems to move, and the attributes that render the motion picture a unique art form are pretty much ignored. A "filmed pseudo stage play" might be a more apt description. That said, the director seems to effectively reflect aspects of the contemporary trauma faced by a country whose long-standing (ancient) traditions are in the midst of serious migration in the aftermath of losing a disastrous war. Issues explored include: the ramifications of children no longer traditionally carrying for their aging parents (or wanting to); dealing with the loss of loved ones in the military service; facing rebellious (rather than obedient) children/grandchildren; living in cramped city apartments with dirty hallway; and the emergence of home-based businesses to just get by financially. The character actors who play the aging grandparents are principal weak spots. The actress playing the grandmother over wears a stoic mask; her face rarely reflects the different emotional lines she delivers. The actor who plays the grandfather is seriously miscast. He usually exhibits a goofy expression; lines reduced to continuously repeating "pause words" (like "aahh") and variations of SO DESU KA ("really?", "is that so?", etc.) don't help matters (due to an impoverished script) . Often characters are seen looking out at things which are never shown to the audience (like in a stage play). The director seems to have a fetish for clothes (including under garments) drying on laundry lines. Some scenes show only laundry drying and many scenes have laundry lines in the foreground or the background (surprisingly, there are no scenes of clothes being washed!). Subtitles and video/audio restorations are fine. Bottom line: Unless you are interested in 20th Century Japanese cultural chaos, best to skip this one. WILLIAM FLANIGAN, PhD.