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Tôkyô boshoku (1957)
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Overview
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Release Date:
19 July 1972 (USA)
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Plot:
Two sisters find out the existence of their long-lost mother, but the younger cannot take the truth of being abandoned as a child. full summary | add synopsis
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User Comments:
Ozu's darkest hour, a masterpiece
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Cast
(Credited cast)| Ineko Arima | ... | Akiko Sugiyama | |
| Kamatari Fujiwara | ... | Noodle vendor | |
| Setsuko Hara | ... | Takako Numata | |
| Nobuo Nakamura | ... | Sakae Aiba | |
| Chishû Ryû | ... | Shukichi Sugiyama | |
| Kinzô Shin | ... | Yasuo Numata | |
| Haruko Sugimura | ... | Shigeko Takeuchi | |
| Teiji Takahashi | ... | Noburo Kawaguchi | |
| Masami Taura | ... | Kenji Kimura | |
| Isuzu Yamada | ... | Kisako Soma | |
| Sô Yamamura | ... | Seki Sekiguchi |
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Runtime:
140 min
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Certification:
UK:PG (2007)
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Referenced in Ikite wa mita keredo - Ozu Yasujirô den (1983)
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A deeply, uncharacteristically dark film, even among other "dark" Ozu films (i.e. A HEN IN THE WIND, EARLY SPRING) that may require a theatrical setting for the viewer to be fully absorbed in the strange, dark textures of the world Ozu presents. I myself was pretty alienated for the first 1/2 hour or so until the wintry chill of the mise-en-scene (brilliantly suggested in the slightly hunched-over postures of the characters) found its way into me instead of keeping me at arm's length. And from there this story builds in unwavering intensity as it follows a family on a slow slide into dissolution: a passive, judgmental patriarch (played by Chisyu Ryu, subverting his gently accepting persona in a way that is shocking), his elder daughter, a divorcee with a single child (Setsuko Hara, playing brilliantly against type -- who'd have thought the sweetest lady in '50s Japan had such an evil scowl?), and his younger daughter (Ineko Arima, a revelation), secretly pregnant and searching for her boyfriend, get a major shakeup when their absent mother, who the father had told them was long dead, re-enters their lives. Ozu's vision of post-war Japan and how the sins of one generation get passed on to the next, illustrated brilliantly by a series of parallels drawn sensitively between characters, manages to be both compassionate and scathing -- even a seemingly cop-out happy denouement is embedded with a poison pill. A masterpiece, without question, one that throws all of Ozu's depictions of modern society in a beautifully devastating new light.