7.5/10
889
10 user 17 critic

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)
...
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

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Details

Country:

Release Date:

December 1982 (USA)  »

Also Known As:

Tokyo Chorus  »

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Aspect Ratio:

1.37 : 1
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Connections

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

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User Reviews

I Worked, But...
13 December 2003 | by (United States) – See all my reviews

A well-to-do employee of an insurance firm gets a handsome bonus only to get fired for standing up for a laid-off co-worker; his stay-at-home wife, son and daughter (a very young but no less adorable Hideko Takamine) all must contend with the effects of his unemployment. This could very well be re-titled I WORKED, BUT... as it has the same eclectic mix of tones found in that "trilogy", this time ranging from the wistfully ruminative to the starkly violent to the hilariously scatalogical. The film also continues the major theme that preoccupied Ozu at this time, employment as a determinant of social status and self-esteem, while also pointing to the dichotomy of home life vs. office life and how children view their parents which would be explored further in I WAS BORN BUT... It is wonderful to witness the sheer range of devices Ozu employs, from tracking shots to keyhole iris shots, generous helpings of physical slapstick and odd assorted throwaway moments that reveal characters in quirky, intimate ways. With its freewheeling technique examining the foibles and fissures of Japanese society from all angles, this is a major example of the young, robust Ozu at his best.


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