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Where Now Are the Dreams of Youth (1932)

Seishun no yume ima izuko (original title)
When a young man inherits his father's lucrative business, he cheats the system to set up three of his college friends with jobs.

Director:

Yasujirô Ozu

Writers:

Kôgo Noda (idea), Kôgo Noda (screenplay)
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A story of a college student (Tatsuo Saitô) and his schoolmates trying to pass the exams by cheating.

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Stars: Tatsuo Saitô, Kaoru Futaba, Kinuyo Tanaka
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Cast

Cast overview:
Ureo Egawa Ureo Egawa ... Tetsuo Horino
Kinuyo Tanaka ... Shigeko, bakery assistant
Tatsuo Saitô Tatsuo Saitô ... Taichirô Saiki
Harurô Takeda Harurô Takeda ... Kenzô Horino
Ryôtarô Mizushima Ryôtarô Mizushima ... Kanzô - the uncle
Kenji Ôyama Kenji Ôyama ... Kumada - Tetsuo's friend
Chishû Ryû ... Shimazaki
Takeshi Sakamoto ... College janitor
Chôko Iida ... Saiki's mother
Ayako Katsuragi Ayako Katsuragi ... Mrs. Yamamura
Satoko Date Satoko Date ... Rich girl
Kaoru Futaba Kaoru Futaba ... Nanny
Kikuko Hanaoka Kikuko Hanaoka
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Storyline

When a young man inherits his father's lucrative business, he cheats the system to set up three of his college friends with jobs.

Plot Summary | Add Synopsis

Genres:

Drama

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Details

Country:

Japan

Release Date:

13 October 1932 (Japan) See more »

Also Known As:

Where Are the Dreams of Youth? See more »

Company Credits

Production Co:

Shochiku See more »
Show more on IMDbPro »

Technical Specs

Sound Mix:

Silent

Aspect Ratio:

1.37 : 1
See full technical specs »
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Did You Know?

Connections

References Hell's Angels (1930) See more »

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User Reviews

Friendship vs. Class Power -- guess who wins?
13 December 2003 | by alsolikelifeSee all my reviews

Ozu revisits the dichotomy between schoolboy idealism and working world realities, this time focusing on four college friends, one of whom (Tatsuo Saito) happens to be the son of a corporate executive; the son takes over upon his father's death, and his friends come seeking employment. Their friendship clearly isn't the same under this new working relationship, the subordinates become yes-men to the point that one of them says nothing when Saito casts an eye on his fiance. This leads to a climax even more violent than those of A HEN IN THE WIND or THE MUNEKATA SISTERS, a minute-long beating served by one friend to another that is all the more stunning in that the other two friends passively look on. Startlingly raw and deeply unresolved, this is perhaps Ozu's most disturbing exploration of social inequality and the damage it unleashes even among the most loyal friends.


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