Following World War II, a retired professor approaching his autumn years finds his quality of life drastically reduced in war-torn Tokyo. Denying despair, he pursues writing and celebrates his birthday with his adoring students.
An anthology of overlapping vignettes exploring the lives of a variety of characters who happen to live in a suburbial shantytown atop a rubbish dump: The boy Roku-chan lives in a fantasy world in which he is a tram conductor. In his fantasy world, he is both the tram and the tram driver and follows a set route and schedule through the dump, reciting the refrain "Dodeska-den", "clickety-clack", mimicking the sound of his vehicle. Ryotaro, a hairbrush maker by trade, is saddled with supporting many children whom his unfaithful wife Misao[c] has conceived in different adulterous affairs, but is wholeheartedly devoted to them. A pair of drunken day laborers (Masuda and Kawaguchi) who engage in wife-swapping, only to return to their own wives the next day as though nothing has happened. A stoic, bleak man named Hei is frequented by Ocho who appears to be his ex-wife, and he watches emotionless as she takes care of his domestic chores. Shima, the man with the tic, is always defending his ...Written by
The drawings shown toward the end of the film weren't by Akira Kurosawa. He usually used his own paintings, but he didn't think they'd feel right or childish enough, so he had some children draw some paintings that are the ones ultimately shown in the finished picture. See more »
We forgot about the swimming pool. Let's make one.
Oh, yes, let's.
One you'd like. I'm glad you're talking. Everything will be all right. The worst is finally over. Children are really very strong.
A swimming pool is good. It'll be in the lawn. White tiles in the middle of evergreens. Still, filling and draining it will be hard. The place is on a hill. We'll need a huge water tank in case of water shortages. And the drainage problem... To drain a pool full of water, a small drainpipe...
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The title is onomatopoeic, the sound of a streetcar clacking on the rails. It is metaphoric for all that the people who live in the dump cannot have. The misery of those people is illustrated by the passing streetcar which represents the relatively unobtainable rich life of the middle class. The pathos of the little boy and his beloved yet sadly insane father is most touching. This was Kurosawa's first film in colour and he uses beautifully shocking hues, colours seen only in dreams. The movie is surreal and surpassing in beauty. The compassion for humanity is the underling force, but as always, Kurosawa is focused on capturing the beauty of the film. It is a masterwork by a genius of cinema.
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