Directed by Yasujiro Ozu and screenplay by Tadao Ikeda from a story by Ozu, Dekigokoro (Passing Fancy) is the story of a two co-workers who both meet a young woman looking for a place to living as it would later cause problems. The film is a silent drama that explore two men who both find themselves falling for this young woman as it would later cause trouble in their friendship. Starring Takeshi Sakamoto, Nobuko Fushimi, Den Obinata, Chouko Iida, and Chishu Ryu. Dekigokoro is an interesting yet lightweight film from Yasujiro Ozu.
The film revolves around a love-triangle between two co-workers at a brewery over a young woman they met at a theater as they both try to pursue her in their own ways only for things to get troubling as the son of one of the co-workers isn’t fond of his father’s pursuit for this woman. It’s a film with a simple premise although screenwriter Tadao Ikeda creates a narrative that doesn’t really do much to flesh out the relationships and characters. Notably as the first act is about the friendship between Kihachi (Takeshi Sakamoto) and Jiro (Den Obinata) as they attend a rokyoku play with Kihachi’s son Tomio (Tokkan Kozo) where they would meet the destitute young woman Harue (Nobuko Fushimi). Harue would get a job working for a restaurant owner in Otome (Chouko Iida) as Kihachi would pursue Harue slowly though Jiro isn’t fond of her which is a front as he secretly is in love with her leading to all sorts of problems. Even as Tomio doesn’t seem fond of Harue due to his grief towards his mom as the script doesn’t really do much to play into the drama as it tries to put in some humor where some of it doesn’t work.
Yasujiro Ozu’s direction is quite simple in its compositions though it wouldn’t feature the restrained and extremely simplistic style that he would be known for in his later films. Still, there are some gorgeous compositions that Ozu would create in its close-ups and medium shots where he gets a look at a certain location or room but also in capturing some of the emotional aspects of the film. The film does have Ozu use dolly-tracking shots to get a view of a certain location or environment as it’s one of the few moments of Ozu moving the camera as it help play into some of the drama and humor. Though the story’s lack of a strong plot and moments where the story meanders would slow things down to a sluggish pace. Ozu is able to maintain that sense of realism as it relates to the drama as it relates to events in the third act involving Tomio. Notably as it help bring some revelation to some characters as well as a sense of duty despite Kihachi’s own illiteracy. Overall, Ozu crafts a compelling although underwhelming film about two men vying for a destitute young woman.
Cinematographer Hideo Shigehara does amazing work with the film’s black-and-white photography as it play into some of the interiors including how a restaurant or a home is lit as well as the natural approach to photography for some of the daytime exteriors. Editor Kazuo Ishikawa does terrific work with the editing in creating some straightforward cuts despite its sluggish pacing due to the story’s lack of plot. Set decorator Yonekazu Wakita does excellent work with the look of Kihachi’s home that he shares with his son and Jiro as well as the restaurant that Harue would work at. The film’s music by Donald Sosin from a 2008 restored edition is brilliant for its piano-based music that is common in silent films as it help play into the humor as well as some somber pieces in the dramatic moments of the film.
The film’s wonderful cast feature some notable small roles from Ozu regular Chishu Ryu as a boat passenger at the end of the film, Chouko Iida as the restaurant owner Otome, and Tokkan Kozuo as Kihachi’s son Tomio who has a hard time dealing with his father’s love of alcohol and the attention towards Harue. Nobuku Fushimi is fantastic as Harue as a young woman seeking work as she finds herself in a love triangle though she enjoys her time with Kihachi while is confused about Jiro’s behavior. Den Onibata is superb as Jiro as a young brewer who is intrigued by Harue though he isn’t initially fond of her as he tries to get work but also do what he can to help Kihachi despite issues he would have with him over Harue. Finally, there’s Takeshi Sakamoto in a brilliant performance as Kihachi as a widower who is trying to watch over his young son as he also deals with his feelings for Harue and uncertainty in trying to find work and his friendship with Jiro.
Dekigokoro is a good although meandering film from Yasujiro Ozu. While it features some good performances, nice visuals, and a terrific music score, it’s a film that anyone interested in Ozu would seek out as one of his earlier silent films that is available. Even if it doesn’t provide enough plot or intrigue in comparison to other films. In the end, Dekigokoro is a fine but unfulfilling film from Yasujiro Ozu.
Yasujiro Ozu Films: (Sword of Penitence) – (Days of Youth) – Tokyo Chorus - I Was Born, But... - (Dragnet Girl) – (A Mother Should Be Loved) – A Story of Floating Weeds - (An Inn in Tokyo) – (The Only Son) – (What Did the Lady Forget?) – (Brothers and Sisters of the Toda Family) – (There Was a Father) – Record of a Tenement Gentleman - (A Hen in the Wind) – Late Spring - Early Summer - (The Flavor of Green Tea Over Rice) – Tokyo Story - Early Spring - Tokyo Twilight - (Equinox Flower) – Good Morning (1959 film) - Floating Weeds - Late Autumn - The End of Summer – An Autumn Afternoon
© thevoid99 2019
Directed by Yasujiro Ozu and written by Ozu and Tadao Ikeda, Record of a Tenement Gentleman is the story of a woman who reluctantly takes care of a boy who has been abandoned as she is helped by friends during the era of post-war Japan. The film is among one of the first post-war film in Japan that explains the struggle of daily life as a boy is lost as he copes with his abandonment and the care of a woman who initially wanted nothing to do with him. Starring Chishu Ryu, Chouko Iida, Reikichi Kawamura, and Hohi Aoki. Record of a Tenement Gentleman is an intimate yet touching film from Yasujiro Ozu.
The film revolves around the postwar life as a man comes home with a homeless boy who had been abandoned as the woman living at the house reluctantly takes him in. It’s a film with a simple story as it play into a woman living with two men as they struggle to make ends meet in rural Tokyo as one of them finds a boy who is lost as they have no idea what to do. The film’s screenplay doesn’t go for anything dramatic except in its second half as it’s more about this woman in O-tane (Chouko Iida) trying to sell things with the help of a street fortune teller in Tashiro (Chishu Ryu) and a repairman in Tamekichi (Reikichi Kawamura). Tashiro would be the one to find this boy named Kohei (Hohi Aoki) whose father had presumably abandoned him to find work in Tokyo. Tashiro and Tamekichi want to help but they feel that the boy is better suited in the care of O-tane who isn’t so sure if she is able to take care of him as she is frustrated with his stubbornness and the fact that he wets the futon he sleeps on. Still, she would grow to care for the boy as well as wonder where his father is and did he abandon his son on purpose.
Yasujiro Ozu’s direction definitely maintains that air of intimacy throughout the film as well as the fact that he eschews any form of style to create something that is simple and direct. While there are a few camera movements for a scene set on the beach, Ozu’s direction is often placed with some wide and medium shots for much of the film with very few close-ups as it’s all about the simple static shot. Ozu’s approach to compositions in the way he puts an actor into a frame as well as creating that sense of drama as it relates to O-tane’s relationship with Kohei who doesn’t say much throughout the film. The direction also play into moments where O-tane, Tashiro, and Tamekichi are having dinner with neighbors who had won some money from a lottery as it promises a sense of hope during this time of rebuilding. Yet, it’s something O-tane would want but she is forced to contend with reality as it relates to Kohei and his lack of education and social skills as she would be forced to make some realizations about the boy. Especially as Kohei would fulfill something O-tane had lost years ago as Kohei is in need of someone to guide him. Overall, Ozu crafts a very tender yet evocative film about a woman taking in an abandoned boy in postwar Japan.
Cinematographer Yuharu Atsuta does brilliant work with the film’s black-and-white photography as it play into the gorgeous exteriors of the beaches in rural Tokyo with some lighting for some of the interior scenes at night. Editor Yoshi Sugihara does excellent work with the editing as it is very straightforward to play into the dramatic elements of the film as well as some of the dramatic tension between O-tane and Kohei. Art director Tatsuo Hamada, with set decorators Shotaro Hashimoto and Mototsugu Komaki, does fantastic work with the look of the home of O-tane as well as some of the places around the neighborhood that is in ruin.
Costume designer Taizo Saito does nice work with the costumes as it is mostly straightforward including the tattered clothes of Kohei. The sound work of Yoshisaburo Senoo does terrific work with the sound as it is play into the natural setting of the locations as well as create something that isn’t totally artificial with the sound effects. The film’s music by Ichiro Saito is superb for its somber yet enchanting score filled with string instruments and lush orchestration to play into the drama as it’s a highlight of the film.
The film’s amazing cast feature some notable small roles from Takeshi Sakamoto as a friendly neighbor, Eiko Takamatsu as the neighbor’s wife, Taiji Tonoyama as a photographer, Hideko Mimura as Tamekichi’s daughter Yukiko, and Eitaro Ozawa as Kohei’s father. Hohi Aoki is superb as Kohei as a seven-year old boy who is quite sensitive and very quiet as he struggles with being abandoned by his father. Chishu Ryu is excellent as Toshiro as the street fortune teller who would find Kohei as he laments over what would happen to the boy. Mitsuko Yoshikawa is fantastic as Kiku as a friend of O-tane who is intrigued about Kohei as well as showing some kindness for the boy. Reikichi Kawamura is brilliant as Tamekuchi as a pot/pans mender who would watch over Kohei as well as expressing concern over how he would be treated. Finally, there’s Chouko Iida in a remarkable performance as O-tane as a widowed woman who sells anything she has in a poor part of Tokyo as she copes with taking care of a boy she isn’t fond of initially only to see the sadness in the boy.
Record of a Tenement Gentleman is a marvelous film from Yasujiro Ozu. Featuring a great cast, a compelling story, and dazzling visuals, the film is definitely a low-key yet engrossing drama that explores postwar life and how a woman would watch over a young boy abandoned by his own father. In the end, Record of a Tenement Gentleman is a sensational film from Yasujiro Ozu.
Yasujiro Ozu Films: (Sword of Penitence) – (Days of Youth) – Tokyo Chorus - I Was Born, But... - (Dragnet Girl) – Passing Fancy – (A Mother Should Be Loved) – A Story of Floating Weeds - (An Inn in Tokyo) – (The Only Son) – (What Did the Lady Forget?) – (Brothers and Sisters of the Toda Family) – (There Was a Father) – (A Hen in the Wind) – Late Spring - Early Summer - (The Flavor of Green Tea Over Rice) – Tokyo Story - Early Spring - Tokyo Twilight – (Equinox Flower) – Good Morning - Floating Weeds - Late Autumn - The End of Summer – An Autumn Afternoon
© thevoid99 2017
Directed by Yasujiro Ozu and screenplay by Komatsu Kitamura and Kogo Noda, Tokyo Chorus is the story of a working man hoping to get his pay in the chance to give his family a moment of happiness as he deals with the reality of his life. The film is an exploration into the look of the working class in Tokyo as it revolves the story of a man and others dealing with day-to-day life during the Great Depression. Starring Tokihiko Okada, Emiko Yagumo, Hideo Sugawara, Hideko Takamine, Tatsuo Saito, and Chouko Iida. Tokyo Chorus is a touching and engaging film from Yasujiro Ozu.
The film follows a man who is fired from his job after turning down a bonus after learning that an older co-worker is fired prompting him to struggle in finding work and raise his family. It’s a film that explores life during the Great Depression in Tokyo as a man is trying to uphold some honor for those he work for as well as trying to do good for his family as he promises his son a bicycle. The film’s screenplay by Komatsu Kitamura and Kogo Noda doesn’t just explore a man dealing with unemployment but also the need to do what is right as he would wander around Tokyo trying to find work at a time when jobs were becoming scarce. The film does open in an unconventional manner as it revolves the protagonist Shinji Okajima (Tokihiko Okada) causing trouble as he is being disciplined by his teacher Omura (Tatsuo Saito). The narrative would fast-forward years later where Okajima is working for an insurance company as he is to receive his bonus but his actions would later lead to trouble as he puts the livelihood of his family at great risk.
Yasujiro Ozu’s direction is definitely simple in terms of the compositions he creates as there isn’t very much movement with the camera other than a few tracking shots and a zoom-out as much of it remains this simple static shot in either close-ups or medium shots. Ozu’s direction captures the life of middle-class Tokyo and nearby areas as it shows a world that is struggling with the Depression where a man in his prime tries to help a co-worker who is older than him. Ozu showcases these struggles with an air of realism and doesn’t go for any kind of visual style to play into this realism. Even in some of the interiors as he captures a family struggling to get by as one of the children is ill as Okajima’s wife Sugako (Emiko Yagumo) is forced to sell a cherished possession. It would all play into Okajima having to wander around Tokyo to find work as he would have to swallow his pride as he would finally get help from someone from his past who would show him the means to fight for what he wants. Overall, Ozu creates a compelling and heartfelt film about a man trying to find work during the Great Depression in Tokyo.
Cinematographer/editor Hideo Shigehara does excellent work with the film’s cinematography and editing as the photography is straightforward in its black-and-white look while the editing is also simple with straight cuts to play into the drama. Set decorators Minzo Kakuta, Tsunetaro Kawaski, Beijiro Tanaka, and Yonekazu Wakita do fantastic work with the look of the home that Okajima and his family live in as well as the office he worked at in the films’ first act. Costume designer Ko Saito does nice work with the costumes from the look of the kimonos as well as the clothes of Okajima as he tries to present himself to get a job. The film’s wonderful score by Donald Sosin from the 2008 release from the Criterion Collection’s Eclipse series is a jovial piano score that help play into some of the film’s humor but also provide the right tone for the dramatic moments.
The film’s brilliant cast include some notable small roles from Kanji Kawara as a doctor, Reiko Tani as Okajima’s boss who would fire him, Ken’ichi Miyajima as the boss’ secretary, Takeshi Samamoto as the elderly employee who would be fired, and Choko Iida as Omura’s wife. Hideo Sugawara and Hideko Takamine are terrific in their roles as Okajima’s children with the former as the son wanting a bike and the latter as the daughter who would get sick during the film’s second act. Emiko Yagumo is excellent as Okajima’s wife Sugako as a wife trying to understand what her husband is doing as well as cope with the severity of his unemployment. Tatsuo Saito is amazing as Omura as a teacher of Okajima in the film’s opening sequence who disciplines him in how to conduct oneself at the work place as well as be someone that would help Okajima regain his confidence. Finally, there’s Tokihiko Okada in a marvelous performance as Shinji Okajima as a man working for an insurance company who tries to defend the rights of a fired co-worker as well as do what he can to give his family a good life while finding a job during one of Japan’s most trying times in the Great Depression.
Tokyo Chorus is a remarkable film from Yasujiro Ozu. It’s a silent film that explore Japan during the Great Depression that is filled with bits of humor as well as drama that has a realness as well as something that is engaging to a wide audience about the struggles to provide for one’s family. In the end, Tokyo Chorus is an incredible film from Yasujiro Ozu.
Yasujiro Ozu Films: (Sword of Penitence) – (Days of Youth) – I Was Born, But... - (Dragnet Girl) – Passing Fancy – (A Mother Should Be Loved) – A Story of Floating Weeds - (An Inn in Tokyo) – (The Only Son) – (What Did the Lady Forget?) – (Brothers and Sisters of the Toda Family) – (There Was a Father) – Record of a Tenement Gentleman – (A Hen in the Wind) – Late Spring - Early Summer - (The Flavor of Green Tea Over Rice) – Tokyo Story - Early Spring - Tokyo Twilight – (Equinox Flower) – Good Morning - Floating Weeds - Late Autumn - The End of Summer – (An Autumn Afternoon)
© thevoid99 2017
Directed by Yasujiro Ozu and written by Ozu and Tadao Ikeda from a story by James Maki, A Story of Floating Weeds is the story about an aging actor who arrives to a small town with his troupe of actors where he meets his old lover and their illegitimate son much to dismay of his current lover. The film is an exploration into a man’s desire to get to know the son he barely knew while trying to give his time towards the people he abandoned while unknowingly abandoning those who also need him. Starring Takeshi Sakamoto, Chouko Iida, Koji Mitsui, and Yoshiko Tsubouchi. A Story of Floating Weeds is a majestic yet heartbreaking film from Yasujiro Ozu.
The film is simple story about an actor, who leads a traveling acting troupe, who arrives at a small town to do a show where yet what he wants to do is see an old lover and his illegitimate son. While wanting to get to know this young man whom he has provided money for so he can get an education and the chance to do something great. The man’s lover feels neglected as she realizes what’s going as she goads a young actress from the troupe to seduce the man’s son in order to create chaos. Instead, things don’t go as planned leaving the man to face all of the trouble he’s created in his past and the life that he has now. It’s all part of a world in which a man is trying to find redemption for his past actions while he’s unaware of the trouble he’s creating in his troupe of actors as they’re dealing with inactivity as well as a lack of money.
The screenplay explores the world of a man trying to do right to the family he had abandoned though he is known to his son as his uncle. Yet, Kihachi Ichikawa (Takeshi Sakamoto) just wants to his son to know that his father isn’t some failure by claiming that his real father was a civil servant who had died. His old lover Otsune (Chouko Iida) would maintain that lie to not just protect Kihachi from shame but also for their son Shinkichi (Koji Mitsui). Still, Shinkichi is happy to see the man he calls his uncle as they share moments together as if they’re father and son. For Kihachi’s current mistress Otaka (Rieko Yagumo), the discovery of Kihachi’s other life is shocking as she has no idea how to react to it as it later becomes a form of jealousy.
By getting the young actress Otoki (Yoshiko Tsubouchi) to seduce Shinkichi, she hopes that it would ruin things for Kihachi so she can get him back. Yet, the script doesn’t allow things to play out as what would’ve been expected in order to slowly create a moment of anxiety for Kihachi as he realizes what’s going on. Truths do get unveiled but it all has to do with what Kihachi wants for his son as well as the fact that Kihachi doesn’t want his son to endure the same struggle he went through as a traveling actor. Even as his troupe realizes the sacrifices he’s made for his son and why he’s been absent as of late yet the outcome would be one that Kihachi would have to live with.
The direction of Yasujiro Ozu is quite simple in the way he frames the film as he is often known for creating dazzling images while never moving the camera to explore any kind of action. Instead, he maintains this air of simplicity in the direction by just capturing all of the drama that is happening as well as some of the kabuki performances that is happening. Still, there is a sense of beauty to the way Ozu frames a shot or a scene where he says a lot by doing so little. Even in moments such as Kihachi and Shinkichi fishing on a river or the drama that occurs in the third act where Kihachi learns of Otaka’s plans. Ozu’s approach to drama is very direct in the way he frames the actors in a scene as well as to display the sense of emotion that is happening. Overall, Ozu creates a very poignant yet exhilarating film about redemption and family.
Cinematographer/editor Hideo Mohara does brilliant work with the film‘s understated black-and-white photography to play out the sense of simplicity in its small town setting with its gorgeous daytime exterior scenes to the scenes set at night with some amazing lighting by Toshimichi Nakajima for some of the film‘s interiors. Mohara’s editing is quite simple but effective to play out the drama that happens while maintaining a methodical approach to the pacing. Art director Toshio Hamada does wonderful work with the set pieces from the theater the actors work at to the home of Otsune. The film’s score by Donald Sosin for the film’s restored version is superb for its piano-based score to play out some of the drama as well as its light-hearted moments.
The film’s cast is excellent as it features some notable small roles from Tokkan Kozo as a child actor of the troupe and Reiko Tani as the boy’s father. Yoshiko Tsubouchi is wonderful as the young actress Otoki who is goaded by Otaka to seduce Shinkichi only for things to become more complicated than she realizes. Rieko Yagumo is terrific as Otaka as Kihachi’s mistress who feels neglected over Kihachi’s absence only to feel jealous over the other life that he has. Koji Mitsui is fantastic as Shinkichi as a young man who has a lot going for him as he’s happy to see the man he thinks is his uncle as they share moments that are just lovely to watch.
Chouko Iida is amazing as Kihachi’s former lover Otsune as a woman who is happy to see Kihachi while trying to protect all of the secrets she and Kihachi have been carrying. Finally, there’s Takeshi Sakamoto in a marvelous performance as Kihachi as he displays a great sensitivity to a man trying to connect with the son he barely knew while dealing with all of the anguish he’s made for himself.
A Story of Floating Weeds is a majestically-rich film from Yasujiro Ozu. Armed with a great cast and a captivating story about the desire to connect as well as dealing with regrets. The film is definitely one of Ozu’s finest as well as one of the key great films of the silent film era. In the end, A Story of Floating Weeds is a remarkable film from Yasujiro Ozu.
Yasujiro Ozu Films: (Sword of Penitence) - (Days of Youth) - Tokyo Chorus - I Was Born, But… - (Dragnet Girl) - Passing Fancy - (An Inn in Tokyo) - (The Only Son) - (What Did the Lady Forget?) - (Brothers and Sisters of the Toda Family) - (There Was a Father) - Record of a Tenement Gentleman - (A Hen in the Wind) - Late Spring - Early Summer - (The Flavor of Green Tea Over Rice) - Tokyo Story - Early Spring - Tokyo Twilight - (Equinox Flower) - Good Morning - Floating Weeds - Late Autumn - The End of Summer - An Autumn Afternoon
© thevoid99 2013
