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

Not Rated  |   |  Drama  |  13 March 1972 (USA)
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Ratings: 8.3/10 from 23,512 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 »

Parents Guide:






Release Date:

13 March 1972 (USA)  »

Also Known As:

Tokyo Story  »

Filming Locations:


Company Credits

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Technical Specs


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 »


Kyoko: Isn't life disappointing?
Noriko: [smiles] Yes, it is.
See more »


Referenced in The Godfather (1972) See more »

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User Reviews

27 October 1999 | by (Boston, MA) – See all my reviews

I need to say this: THIS MOVIE IS ABSOLUTELY FANTASTIC!!! Sure it starts off slowly, but the fact of the matter is the film is a great story of a family and the alienation associated with aging. This is the kind of movie that will make you reflect upon your own family and how you treat them.

I had never seen an Ozu film before, but now I feel as if I must see them all. His use of cinematic space is incredible. He breaks all sorts of conventions with his cinematography such as violating the axis of action. This gives the viewer the sense of a large, open, unrestricted world.

Going with this realism, the characters seem real; not for a moment did I see the people on the screen as actors. They were the family, and you as the viewer feels what they feel. Part of this comes from the use of head-on-shots such that the characters are speaking TO you.

It is a fantastic, moving piece of work and arguably one of the best films ever made.

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