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Floating Weeds (1959)

Ukikusa (original title)
Not Rated | | Drama | 24 November 1970 (USA)
The head of a Japanese theatre troupe returns to a small coastal town where he left a son who thinks he is his uncle, and tries to make up for the lost time, but his current mistress grows jealous.

Director:

Yasujirô Ozu

Writers:

Yasujirô Ozu (screenplay), Kôgo Noda (screenplay)
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Setsuko is unhappily to Mimura, an engineer with no job and a bad drinking habit. She had always been in love with Hiroshi but both of them failed to propose when Hiroshi left for France a ... See full summary »

Director: Yasujirô Ozu
Stars: Kinuyo Tanaka, Hideko Takamine, Ken Uehara
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Cast

Cast overview, first billed only:
Ganjirô Nakamura Ganjirô Nakamura ... Komajuro Arashi
Machiko Kyô ... Sumiko
Ayako Wakao ... Kayo
Hiroshi Kawaguchi Hiroshi Kawaguchi ... Kiyoshi Homma
Haruko Sugimura ... Oyoshi
Hitomi Nozoe Hitomi Nozoe ... Aiko
Chishû Ryû ... Theatre Owner
Kôji Mitsui ... Kichinosuke
Haruo Tanaka Haruo Tanaka ... Yatazo
Yosuke Irie Yosuke Irie ... Sugiyama
Hikaru Hoshi Hikaru Hoshi ... Kimura
Mantarô Ushio Mantarô Ushio ... Sentaro
Kumeko Urabe Kumeko Urabe ... Shige
Toyo Takahashi ... Aiko no haha
Mutsuko Sakura Mutsuko Sakura ... O-Katsu
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Storyline

A troupe of travelling players arrive at a small seaport in the south of Japan. Komajuro Arashi, the aging master of the troupe, goes to visit his old flame Oyoshi and their son Kiyoshi, even though Kiyoshi believes Komajuro is his uncle. The leading actress Sumiko is jealous and so, in order to humiliate the master, persuades the younger actress Kayo to seduce Kiyoshi. Written by Will Gilbert

Plot Summary | Add Synopsis

Genres:

Drama

Certificate:

Not Rated | See all certifications »

Parents Guide:

View content advisory »
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Details

Country:

Japan

Language:

Japanese

Release Date:

24 November 1970 (USA) See more »

Also Known As:

Floating Weeds See more »

Company Credits

Production Co:

Daiei Studios See more »
Show more on IMDbPro »

Technical Specs

Runtime:

Sound Mix:

Mono

Color:

Color (Eastmancolor)

Aspect Ratio:

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

Trivia

The film is included on Roger Ebert's "Great Movies" list. See more »

Goofs

Near the end, sandals disappear or move around: after Kiyoshi argues with his father, he runs upstairs, first slipping out of his sandals and leaving them at the bottom (center) of the stairs. Moments later, Kayo goes up to him. We see that she, too, removes her sandals at the bottom of the stairs. But Kiyoshi's sandals have now suddenly disappeared: we see only Kayo's sandals at the bottom of the stairs. Moments later, Kiyoshi comes back downstairs to go after his father. He goes to put on his sandals, which have now suddenly reappeared, but in a different location from where he took them off. A moment later, Kayo also comes down the stairs and puts on her sandals, which are approximately where she had removed them and placed them, moments earlier. See more »

Connections

Referenced in The Triplets of Belleville (2003) See more »

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User Reviews

Sliding Slide Show
2 August 2007 | by tedgSee all my reviews

Ozu is a wonderful experience just to watch the musical formations. Each shot is composed in the most careful way so that the assembly has a geometric rhythm. It is soft and melodic, this visual overlay, painting in motion. No one does it better that I know.

There's a talk between two troubled lovers in the rain, then in opposing shelters, that is especially noteworthy, but it is all so cinematically lovely...

The way he's put this together is very Japanese. Each shot length is nearly precisely the length of the one before. Each employs a stationary camera only, but the positioning of the camera only sometimes is where a human eye would be. As I've mentioned, The composition in terms of elements, space and color is perfect in each shot and follows in a deliberate, engineered pattern from the previous shots.

The narrative isn't integrated in the way Kurosawa would do — and be considered un-Japanese for. But the story does much of that for us.

It is a story about pretense and staging, with most of the actors playing characters who are actors and have trouble in being an actor.

You'll have to work to be engaged in the story. But its rather easy to just sit back and admire the loveliness. Ozu is always worth it for this. I don't know many of his films, but this is the most formal of those I know.

Ted's Evaluation -- 3 of 3: Worth watching.


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