IMDb > Dekigokoro (1933)

Dekigokoro (1933) More at IMDbPro »


Overview

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7.4/10   613 votes »
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Director:
Writers:
Tadao Ikeda (adaptation)
Yasujirô Ozu (idea)
Contact:
View company contact information for Dekigokoro on IMDbPro.
Release Date:
7 September 1933 (Japan) See more »
Genre:
Plot:
Two Tokyo co-workers come across a destitute young lady in search of a place to live. Full summary » | Full synopsis »
Awards:
1 win See more »
User Reviews:
Salted Salmon See more (8 total) »

Cast

  (in credits order)
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)
rest of cast listed alphabetically:

Chishû Ryû ... Man on boat (uncredited)
Hideo Sugawara ... Boy Taunting Tomio (uncredited)

Directed by
Yasujirô Ozu 
 
Writing credits
(in alphabetical order)
Tadao Ikeda  adaptation
Yasujirô Ozu  idea (as James Maki)

Cinematography by
Hideo Shigehara 
Shôjirô Sugimoto 
 
Film Editing by
Kazuo Ishikawa 
 
Set Decoration by
Yonekazu Wakita 
 
Camera and Electrical Department
Hideo Hoshî .... assistant camera
Hiroyuki Nagaoka .... assistant camera
Toshimitsu Nakajima .... lighting technician
 

Production CompaniesDistributors

Additional Details

Also Known As:
"Passing Fancy" - , International (English title) (literal English title)
See more »
Runtime:
100 min (24 fps)
Country:
Aspect Ratio:
1.37 : 1 See more »
Sound Mix:

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Salted Salmon, 7 February 2012
Author: chaos-rampant from Greece

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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