In 1923, in the province of Shinshu, the widow and simple worker of a silk factory Tsune Nonomiya (O-Tsune) decides to send her only son to Tokyo for having a better education. Thirteen ... See full summary »
When the patriarch of the Toda family suddenly dies, his widow discovers that he has left her with nothing but debt and married children who are unwilling to support her--except for her most thoughtful son, just returned from China.
Ryoichi and Chikako are brother and sister. They live together. Chikako works during the day in a office and at night she prostitutes herself to fund her brother studies in univesity. ... See full summary »
An affluent medical professor, Komiya, and his bossy wife, Tokio, are to look after Setsuko, their high-spirited niece from Osaka. Setsuko is a liberated woman who does what she wants, ... See full summary »
In post-war Japan, a man brings a lost boy to his tenement. No one wants to take the child for even one night; finally, a sour widow, Tané, does. The next day, complaining, she takes the ... See full summary »
A troupe of actors comes to town, short on funds and bedeviled by bad weather, so they can't put on shows. Kihachi is the troupe's leader. He steals off every day to visit Otsune (an ex-lover) and their son, Shinkichi, who believes his father is a long-dead civil servant. Kihachi has been paying Shinkichi's tuition, and he's now at university. Kihachi's lover, Otaka, the troupe's lead actress, learns Kihachi's secret and plots to ruin Shinkichi and humiliate Kihachi: she offers money to Otoki, the troupe's ingénue, to seduce Shinkichi. Soon the boy is head over heels, and Otoki finds herself with feelings for him. Can this end well or is tragedy at hand? Written by
I'll go away again.
Shinkichi has accepted you in his heart.
I don't want him to feel awkward because of me. Let me go as the usual carefree uncle one last time. I'll start up in business again. If I do well, I'll return again. I'll be a great actor so Shinkichi won't be ashamed of me. And you can thank me with a curtain call.
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I have not yet seen the acclaimed remake, but this film does not compare to other Ozu silents such as 'Woman of Tokyo' or the masterpiece with similar, "boy, grow up to be a better man than your father" themes - 'I was Born, But'.
The best scenes here are when the emotional heart of the scene is hinted at, rather than spoken abruptly. For instance, when we first learn the boy is the son of this man and woman, it is learned without being said - and the emotional weight of the scene is less in learning the fact, than in the way these two characters react to it without ever speaking of it directly. Unfortunately the film more often goes for high melodrama than this subtle approach, which feeling too staged, left me feeling oddly unaffected.
That being said Ozu does manage to create an enticing mood in parts and it is well acted.
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