Tokyo Story (1953)
"Tôkyô monogatari" (original title)

Not Rated  |   |  Drama  |  13 March 1972 (USA)
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Ratings: 8.3/10 from 23,523 users  
Reviews: 117 user | 128 critic

An old couple visit their children and grandchildren in the city; but the children have little time for them.



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Cast overview, first billed only:
Chieko Higashiyama ...
Tomi Hirayama
Noriko Hirayama
Haruko Sugimura ...
Shige Kaneko
Koichi Hirayama
Kuniko Miyake ...
Fumiko Hirayama - his wife
Kyôko Kagawa ...
Kyôko Hirayama
Eijirô Tôno ...
Sanpei Numata
Kurazo Kaneko
Shirô Ôsaka ...
Keizo Hirayama (as Shirô Osaka)
Hisao Toake ...
Osamu Hattori
Teruko Nagaoka ...
Yone Hattori
Mutsuko Sakura ...
Oden-ya no onna
Toyo Takahashi ...
Rinka no saikun (as Toyoko Takahashi)
Tôru Abe ...


An elderly couple journey to Tokyo to visit their children and are confronted by indifference, ingratitude and selfishness. When the parents are packed off to a resort by their impatient children, the film deepens into an unbearably moving meditation on mortality. Written by Paul Watabe

Plot Summary | Plot Synopsis




Not Rated | See all certifications »

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Release Date:

13 March 1972 (USA)  »

Also Known As:

Tokyo Story  »

Filming Locations:


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Sound Mix:

Aspect Ratio:

1.37 : 1
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Did You Know?


'Yasujiro Ozu' and his longtime collaborator 'Kogo Noda' spent 103 days at a country inn in Chigasaka working on the screenplay. After that, shooting and editing advanced extremely quickly, meaning the film was in production for a total of four months. See more »


[as children get older, they drift away from their parents]
See more »


Version of Cherry Blossoms (2008) See more »

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User Reviews

A Classic
5 November 2003 | by (Chester, England) – See all my reviews

It was only last week that i saw this film for the first time, and i instantly loved it. It perfectly sums up the feelings from post war Japan, and the loss of values the community had to deal with. Our sympathies are instantly placed with the older generation, who are symbolic of the traditional values, while we see the younger generation as selfish, and too busy to spend time with their parents. We have a backward view of change and progress not necessarilly being so

Ozu shot the film from a waist height viewpoint, which to the traditional Japanese viewer respresents the view of someone below eye level sitting on a mat. This was the pose of the onlooker, and this constantly reminds us that the film is under the gaze, and we should take note. Like traditional Japanese cinema the camera does not move. Panning is replaced by clever cutting, and the mis-en-scene is very artistic. Using the foreground and background very cleverly to show film as an art in its purest form.

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