7.1/10
290
7 user 3 critic

Watashi wa nisai (1962)

Husband and wife Gorô and Chiyo, and their only offspring, an infant son named Tarô, go through the ups and downs of family life living in a cramped modern apartment building in suburban ... See full summary »

Director:

Kon Ichikawa

Writers:

Michio Matsuda (novel), Natto Wada
Reviews
5 wins. See more awards »

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Cast

Cast overview, first billed only:
Fujiko Yamamoto ... Chiyo
Hiroo Suzuki Hiroo Suzuki ... Tarô, the baby
Eiji Funakoshi ... Gorô, the father
Kumeko Urabe Kumeko Urabe ... Ino, grandmother
Mantarô Ushio Mantarô Ushio ... Laundry Man
Kyôko Kishida ... Chiyo's Friend
Misako Watanabe Misako Watanabe ... Setsuko, the aunt
Masako Kyôzuka Masako Kyôzuka ... Chiyo's sister
Shirô Ôtsuji Shirô Ôtsuji ... Doctor
Mayumi Kurata Mayumi Kurata ... Neighbor wife
Jun Hamamura Jun Hamamura ... Older Doctor
Yôko Hizakura Yôko Hizakura
Hiroko Hanai Hiroko Hanai
Akira Natsuki Akira Natsuki ... Doctor at Hospital
Takashi Nakamura Takashi Nakamura
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Storyline

Husband and wife Gorô and Chiyo, and their only offspring, an infant son named Tarô, go through the ups and downs of family life living in a cramped modern apartment building in suburban Tokyo. Their story is told in Tarô's second year of life. Many of their issues stem from both Gorô and Chiyo being unsure of themselves as parents, and being different in their perspectives of parenting, Gorô who believes in the traditional roles in which Chiyo is tasked with most of the child rearing responsibilities especially around the home. They also differ in the number of children they want, Gorô who believes Tarô is enough of a handful, while Chiyo really wants at least one more child in the general joy she feels in being a mother despite the problems. The unsurety that Gorô and Chiyo feel about their parenting is confirmed by Tarô, openly in his frequent crying fits when he is unhappy in what his parents or other adults around him have done wrong, and in secret as Tarô provides an inner voice... Written by Huggo

Plot Summary | Add Synopsis

Genres:

Comedy | Drama

Parents Guide:

View content advisory »
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Details

Country:

Japan

Language:

Japanese

Release Date:

18 November 1962 (Japan) See more »

Also Known As:

I Am Two Years Old See more »

Filming Locations:

Tokyo, Japan

Company Credits

Production Co:

Daiei Studios See more »
Show more on IMDbPro »

Technical Specs

Runtime:

Sound Mix:

Mono

Color:

Color

Aspect Ratio:

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

Trivia

Official submission of Japan for the 'Best Foreign Language Film' category of the 35th Academy Awards in 1963. See more »

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User Reviews

 
Criterion Are You Listening? Release this on DVD!
19 November 2001 | by Dog BreathSee all my reviews

The only real disappointment with this film is that I will probably never get to see this on DVD. I want to own it so badly now.

I was tremendously impressed with this film when I saw it for the first time at the Ichikawa retrospective in Vancouver tonight. It reminded me of another favourite film of mine, Yasujiro Ozu's Good Morning.

I Am Two revolves around a Japanese nuclear family (husband, wife, and small child) and their trials and tribulations. There's no hard plot here, just vignettes of life taking place over the course of 9 - 12 months (the time span is never made very clear, but that is probably an accurate estimate).

The film is told from the pseudo-perspective of a one year old (who turns two at film's end). I say pseudo, because Kon doesn't inflict childlike camera angles on us throughout the film. Instead he relies on narration by the child, mainly to introduce new characters to us from his perspective and to introduce new plot points, again from the child's perspective.

The film has a similar pace to Good Morning, similar character interactions, and similar themes (i.e. the loss of traditional Japanese values as the pace of change accelerates). It doesn't benefit from Ozu's use of colour, but neither is it a fault of the film. I Am Two is not Good Morning, but you could consider them first cousins, both of which have a great deal of charm.

Like Good Morning there is oblique social commentary, but it is never in your face. If you recognize it, then so be it, the film seems to suggest. If you miss it, then so be it also. Both films recognize changes in Japanese society, but neither film passes judgement on those changes.

One of the interesting aspects of the film is the opening ... it details the birth of Taro, narrated by Taro, and from Taro's "blurry, ill-defined" perspective.

If this retrpspective passes through your town, this is one I VERY VERY HIGHLY recommend. It is a must see. And I would love someone (preferably Criterion) to put it out on DVD.


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