Tokyo Story (1953)

An old couple visit their children and grandchildren in the city; but the children have little time for them.

Director:

Yasujirô Ozu

Writers:

Kôgo Noda (scenario), Yasujirô Ozu (scenario)

Stars:

Chishû Ryû, Chieko Higashiyama, Sô Yamamura

Top Rated Movies #174 | 3 wins.

Cast

Cast overview, first billed only:
Chishû Ryû	...	Shukichi 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 Ôsaka	...	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

Storyline

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 busy, impatient children, the film deepens into an unbearably moving meditation on mortality.

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Plot Keywords:

estrangement | family reunion | post world war two | japanese | generation gap | 

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Taglines:

In the daily lives of ordinary people, a sense of deep affection wells up.

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Genres:

Drama

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Certificate:

Not Rated

Details

Country:

Japan

Language:

Japanese English

Release Date:

13 March 1972 (USA)

Also Known As:

Tokyo Story

Filming Locations:

Osaka, Japan

Company Credits

Production Co:

Shôchiku Eiga

Technical Specs

Runtime:

136 min

Sound Mix:

Mono

Color:

Black and White

Aspect Ratio:

1.37 : 1

Did You Know?

Trivia

Although made in the early 50s alongside many other Japanese films now considered classics - Rashômon (1950), Ugetsu (1953) and Gate of Hell (1953) - this didn't receive US release until 1964, by which time 'Yasujiro Ozu' was already dead.

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Goofs

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.

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Quotes

Shige Kaneko: [Tomi and Shukichi enter the hair salon] Why, you're back so soon. You should have stayed longer!
Tomi Hirayama: [as she passes Shige teasing a customer's hair] We're home.
Hair salon customer: Who are they?
Shige Kaneko: Oh, just friends from the country.
[looks after Tomi and Shukichi with disdain]

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Connections

Referenced in Weakest link: Hitori gachi no hôsoku: Episode #1.3 (2002)

User Reviews

A cinema of tears

I can vividly remember the first time i saw this movie - it was during a festival of Japanese movies in an art house cinema here in Dublin. I must admit to never having heard of Ozu before, i went out of boredom and casual curiosity. I was embarrassed at the end to find myself in tears. I quickly wiped them away in that subtle way guys do when they don't want anyone to know, and got out to leave. What struck me was that even as the credits were finishing, I was one of the first to go. As i walked up the aisle I realized that most of the nearly full cinema was still sitting quietly, without the usual post movie chatter - and more than half of the audience had tears pouring down their faces. I have never, ever witnessed that in a cinema.

Since then, i've watched it on DVD, and had to think a lot about why such a simple movie is so powerful, and so many people rate it as one of the greatest ever. And why i find myself agreeing with that rating, i truly think it is in the top 10 ever made - certainly the top 5 of any I've seen. But its hard at first to know why. It doesn't have the greatest script of any movie, there are few things in it that are truly original. The acting is great, but not the greatest ever seen, and the technical qualities are just average. I've come to the conclusion that the reason for its greatness is that it comes closest to pure art in cinema. By pure art, i mean art that in its simplicity but technical genius still reveals deep truths about our lives. When i think about Tokyo Story I don't find myself comparing it to other movies, instead I think of a Rembrandt self portrait, a Vermeer painting, or my favourite short story, 'The Dead' by James Joyce. It is simple, unadorned, and deeply wise. I realise in writing this I'm rapidly approaching pseuds corner, but this is my genuine conclusion (writing as someone who is shamefully uneducated in most of the arts).

Of course there have been many great movies about families, about growing old, about the nature of life.... but I think somehow Ozu achieved a sort of perfection with Tokyo Story. Thats why its the only movie I would give a '10' to.