Elderly couple Shukishi and Tomi Hirayama live in the small coastal village of Onomichi, Japan with their youngest daughter, schoolteacher Kyoko Hirayama. Their other three surviving adult children, who they have not seen in quite some time, live either in Tokyo or Osaka. As such, Shukishi and Tomi make the unilateral decision to have an extended visit in Tokyo with their children, pediatrician Koichi Hirayama and beautician Shige Kaneko, and their respective families (which includes two grandchildren). In transit, they make an unexpected stop in Osaka and stay with their other son, Keiso Hirayama. All of their children treat the visit more as an obligation than a want, each trying to figure out what to do with their parents while they continue on with their own daily lives. At one point, they even decide to ship their parents off to an inexpensive resort at Atami Hot Springs rather than spend time with them. The only offspring who makes a concerted effort on this trip is Noriko ...Written by
Voted #7 in Total Film's 100 Greatest Movies of All Time list (November 2005). See more »
At timer mark 1:45:46, when the children are visiting their mother at home and leave the room to talk with the father in an adjoining room, just as they sit on the floor, you see the shadow of the boom-mic just drop into the scene and back out again, just over the sons head on the top right of the screen. This shadow is well into the frame against the edge of what appears to be a bookshelf and should not be considered a masking mistake of the projectionist. See more »
[saying good-bye at the train station]
You were so nice to us, children. Now that we've seen you all, you need not come down, even if anything should happen to either one of us.
Don't talk like that. This isn't a farewell.
I mean it. We live too far away.
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Things are the way that they are and it is perfect
Ozu's Tokyo Story is a serene and contemplative look at the breakdown in the relationship between grown children and their elderly parents shortly after World War II. The film concerns itself with problems many of us must face: the struggle to maintain a self-fulfilling life independent of parental expectations, the changes in relationships wrought by time, and the inevitability of separation and loss. Ozu does not point the finger at either parents or children but, like many of his films, offers a thoughtful meditation on the transitory nature of life.
As the film opens, we see an empty street, empty train tracks and an empty pier, perhaps an early indicator of the sense of loss that pervades the film. An elderly father, Shukishi Hirayama (Chishu Ryu) and his wife Tomi (Chieko Higashiyama) are preparing to travel by train to visit their children in Tokyo. When they arrive, they are met with indifference by daughter Shige (Haruko Sugimura), their grandchildren Minoru (Zen Murase) and Isamu (Mitsuhiro Mori), and son Koichi (So Yamamura), a Tokyo pediatrician. When Koichi is called to visit a patient and Shige cannot leave her beauty salon, the Harayamas postpone a sightseeing trip and start to complain that they expected the children would be living in more comfortable circumstances. Their widowed daughter-in-law Noriko (Setsuko Hara), however, welcomes them warmly and gives them the experience of being appreciated.
To give themselves some breathing room, the children pool their resources and send their parents to Atami, a health spa. Their visit, however, is cut short when the noise and crowds make going home seem like a better alternative. When they get back to Tokyo, Shige tells them she has a meeting scheduled at her house and Tomi decides to spend the night with Noriko. Shukishi, in a very humorous scene, goes out drinking with old friends and shows up late at night at Shige's house completely drunk. When the elderly parents return to Onomichi, the mother suddenly becomes very ill and the entire family, including youngest son Keizo from Osaka, must come and visit them. The moment of epiphany comes when the youngest daughter Kyoko (Kyoko Kagawa) asks Noriko whether or not life is disappointing. Her answer mirrors Ozu's concept of mono no aware, that we cannot avoid the sadness of life, but her beaming face tells us that things are just the way that they are and that it is perfect.
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