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Tôkyô no kôrasu (1931)

A married Tokyo man faces unemployment after standing up for an older colleague.

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(original story), (original story) | 1 more credit »
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Cast

Cast overview:
Tokihiko Okada ...
Emiko Yagumo ...
Tsuma Sugako (His wife)
Hideo Sugawara ...
Sono Chounan (First Son)
...
Sono Choujo (First Daughter)
Tatsuo Saitô ...
Omura Sensei (Teacher)
Chôko Iida ...
Sensei no tusma (Mrs. Omura)
Takeshi Sakamoto ...
Rou-Shain Yamada (Old employee)
Reikô Tani ...
Shachou (Company President)
Ken'ichi Miyajima ...
Hisho (Secretary)
Isamu Yamaguchi ...
Kaisha no Douryou (An Employee)
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Storyline

Mr. Omura, a teacher, leads a group of male students in an outdoor drill. One slight, comic young man, Shinji Okajima, has no shirt under his jacket; he scratches at fleas and makes faces behind Omura's back. Jump ahead several years, Shinji is married with three children. He sells insurance, and on the company's annual bonus day, he protests when an older worker is fired. Shinji loses his own job as a result, and he and his wife must find ways to cope. Lassitude, pride, the demands and needs of young children, and relationships from bygone school days all play a part in the outcome of their struggle. Written by <jhailey@hotmail.com>

Plot Summary | Add Synopsis

Genres:

Comedy | Drama

Parents Guide:

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Details

Country:

Release Date:

December 1982 (USA)  »

Also Known As:

Tokyo Chorus  »

Company Credits

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Technical Specs

Sound Mix:

Aspect Ratio:

1.37 : 1
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Did You Know?

Connections

Referenced in Ikite wa mita keredo - Ozu Yasujirô den (1983) See more »

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User Reviews

 
nope
6 November 2016 | by See all my reviews

I enjoyed this as much as any Ozu movie that I've ever seen. I think the silent medium inclined the director more to light-heartedness, not that it was ever absent from his films. Near-slapstick leads to genuine pathos on a much more naturalistic way than it ever would in, say, a Chaplin film. Ozu always recognized and appreciated a great face. In his silent films, however, his reliance on the face is much more active, using lighting and framing to convey expression as much as the performers' inherent ability. Ozu may be unique in that the performances in his silent films seem more like "movie acting" in the western sense than do those in his talkies, in which the actors seem more indebted to the tradition of the Japanese stage. But then again, everything about Ozu's early films seems more western. He had not yet become the mandarin we know him as from his peak years. The director's sense of humanity, however, was fully on display. His silent faces rank with Dreyer's, or Rembrandt's for expressiveness.


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