IMDb > Tokyo Story (1953)
Tôkyô monogatari
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Tokyo Story (1953) More at IMDbPro »Tôkyô monogatari (original title)

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Overview

User Rating:
8.3/10   18,837 votes »
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Director:
Writers:
Kôgo Noda (scenario) and
Yasujirô Ozu (scenario)
Contact:
View company contact information for Tokyo Story on IMDbPro.
Release Date:
13 March 1972 (USA) See more »
Genre:
Plot:
An old couple visit their children and grandchildren in the city; but the children have little time for them. Full summary » | Full synopsis »
Awards:
2 wins See more »
User Reviews:
A Classic See more (105 total) »

Cast

  (in credits order) (complete, awaiting verification)

Chishû Ryû ... Shukishi Hirayama
Chieko Higashiyama ... Tomi Hirayama

Setsuko Hara ... Noriko Hirayama
Haruko Sugimura ... Shige Kaneko

Sô Yamamura ... Koichi Hirayama
Kuniko Miyake ... Fumiko Hirayama - his wife
Kyôko Kagawa ... Kyôko Hirayama
Eijirô Tôno ... Sanpei Numata
Nobuo Nakamura ... Kurazo Kaneko
Shirô Osaka ... Keizo Hirayama
Hisao Toake ... Osamu Hattori
Teruko Nagaoka ... Yone Hattori
Mutsuko Sakura ... Oden-ya no onna
Toyo Takahashi ... Rinka no saikun (as Toyoko Takahashi)
Tôru Abe ... Tetsudou-shokuin
Sachiko Mitani ... Aparto no onna
Zen Murase ... Minoru Hirayama - Koichi's son
Mitsuhiro Môri ... Isamu Hirayama - Koichi's son
Junko Anan ... Biyouin no joshu
Ryôko Mizuki ... Biyouin no kyaku
Yoshiko Togawa ... Biyouin no kyaku
Kazuhiro Itokawa ... Geshuku no seinen
Fumio Tooyama ... Kanka no otoko (as Fumio Toyama)
Keijirô Morozumi ... Junsa
Tsutomu Nijima ... Noriko's office boss
Shôzô Suzuki ... Jimuin
Yoshiko Tashiro ... Ryokan no jochuu
Haruko Chichibu ... Ryokan no jochuu
Takashi Miki ... Tuyauta-shi
Binnosuke Nagao ... Onomichi no ishi
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Directed by
Yasujirô Ozu 
 
Writing credits
Kôgo Noda (scenario) and
Yasujirô Ozu (scenario)

Produced by
Takeshi Yamamoto .... producer
 
Original Music by
Takanobu Saito 
 
Cinematography by
Yûharu Atsuta 
 
Film Editing by
Yoshiyasu Hamamura 
 
Production Design by
Tatsuo Hamada 
 
Art Direction by
Tatsuo Hamada 
 
Costume Design by
Taizô Saitô 
 
Second Unit Director or Assistant Director
Osamu Takahashi .... assistant director
Kouzou Yamamoto .... assistant director
Shôhei Imamura .... second assistant director (uncredited)
 
Art Department
Setsutarô Moriya .... set dresser
Toshio Takahashi .... set designer
 
Sound Department
Yoshiomi Hori .... sound assistant
Mitsuru Kaneko .... sound engineer
Yoshisaburô Senoo .... sound
 
Camera and Electrical Department
Takashi Kawamata .... assistant camera
Itsuo Takashita .... lighting technician
Takeshi Yakuwa .... lighting assistant
 
Editorial Department
Ryûji Hayashi .... colorist
 
Other crew
Tomiji Shimizu .... script supervisor
 
Crew believed to be complete


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Additional Details

Also Known As:
"Tôkyô monogatari" - Japan (original title)
See more »
Runtime:
136 min
Country:
Language:
Aspect Ratio:
1.37 : 1 See more »
Sound Mix:
Filming Locations:

Did You Know?

Trivia:
The film is notable for its use of the "tatami-mat" shot, in which the camera height is low and remains largely static throughout.See more »
Quotes:
Kyoko:Isn't life disappointing?
Noriko:[smiles] Yes, it is.
See more »
Movie Connections:
Referenced in 100 Years of Japanese Cinema (1995) (TV)See more »

FAQ

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30 out of 35 people found the following review useful.
A Classic, 5 November 2003
Author: Mark Davies (mark679davis@btinternet.com) from Chester, England

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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