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Dekigokoro (1933)

 -  Drama  -  7 September 1933 (Japan)
7.4
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Ratings: 7.4/10 from 611 users  
Reviews: 8 user | 18 critic

Two Tokyo co-workers come across a destitute young lady in search of a place to live.

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Title: Dekigokoro (1933)

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Cast

Cast overview:
Takeshi Sakamoto ...
Kihachi
Nobuko Fushimi ...
Harue
Den Obinata ...
Jiro
Chôko Iida ...
Otome
Tomio Aoki ...
Tomio (as Tokkan Kozô)
Reikô Tani ...
Barber
Seiji Nishimura
Seiichi Katô ...
(as Seiichi Kato)
Edit

Storyline

After the death of his wife, a man struggles to raise his son in nearly overwhelming poverty. When the father meets a beautiful young woman, the son becomes jealous of his father's attentions, and conflict arises between them. Written by Jim Beaver <jumblejim@prodigy.net>

Plot Summary | Plot Synopsis

Genres:

Drama

Parents Guide:

 »
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Details

Country:

Release Date:

7 September 1933 (Japan)  »

Also Known As:

Passing Fancy  »

Company Credits

Production Co:

 »
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Technical Specs

Runtime:

Sound Mix:

Aspect Ratio:

1.37 : 1
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Did You Know?

Connections

Referenced in Stranger Than Paradise (1984) See more »

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User Reviews

 
Salted Salmon
7 February 2012 | by (Greece) – See all my reviews

Another early Ozu where family ties - severely tested but affirmed - steer the world away from havoc and into good. Another early Ozu that documents Japanese society being pushed through the wringer of Western influence, cinematically reflected with Chaplinesque beats: the father is a lazy factory worker and no good man-about-town, in stark contrast to the meek, corporate executive father in I Was Born But.., and once more the stubborn son has to live with the shame.

This go round and in comparison to the above film, the intended seduction of suburban life is less effective. The innocence of childhood is less the fulcrum of discovery of how the world works, and more a counterpoint to ordinary drama; thwarted love, strained friendship, high-minded sacrifice in the end that seduces noble, better persons out of everyone.

Everything turns out the way it does for a reason, the film whimsically asserts. Why is sea water salty? But of course for us to salt salmon with.

It is good and was awarded that year with a Kinema Jumpo beating films by future rivals Mizoguchi and Naruse. I assume it won for the denouement of selfless humanity - inspirationally miraculous and accompanied by fireworks in the sky - that must have echoed desirably at tumultuous times such as those, but there were more interesting things afoot in Japanese cinema of the time. This is comfortable but lacks innovation.


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