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Tokyo-Ga (1985)

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Moved by the work of director Yasujirô Ozu, Wim Wenders travels to Japan in search of the Tokyo seen in Ozu's films.

Director:

Wim Wenders

Writer:

Wim Wenders
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Cast

Complete credited cast:
Chishû Ryû ... Himself
Werner Herzog ... Himself
Yûharu Atsuta Yûharu Atsuta ... Himself
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Storyline

Wim Wenders travels to Japan in search of the Tokyo seen in the films of Yasujirô Ozu. Ozu's own Tokyo Story (1953) is a helpful (but not mandatory) pre-requisite to seeing Tokyo-Ga (1985). Written by Anonymous

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Genres:

Documentary

Certificate:

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Details

Country:

USA | West Germany

Language:

English | Japanese | German

Release Date:

26 April 1985 (USA) See more »

Also Known As:

Tokio-Ga See more »

Filming Locations:

Japan See more »

Company Credits

Show more on IMDbPro »

Technical Specs

Runtime:

Sound Mix:

Mono

Color:

Color

Aspect Ratio:

1.33 : 1
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Did You Know?

Quotes

Wim Wenders: Tokyo was like a dream and today, my own images appear to me as if they were invented. Like when, after a long time, you find a slip of paper on which you once had scribbled down a dream on the first light of dawn. You read it in amazement and you don't recognize a thing as if it were someone else's dream.
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Connections

References Sans Soleil (1983) See more »

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User Reviews

Tokyo-Ga (1985) a film by Wim Wenders
17 February 2009 | by lucila-glionnaSee all my reviews

Tokyo-Ga is a 1985 documentary film directed by Wim Wenders about filmmaker Yasujiro Ozu. Wenders travels to Japan and narrates the movie as he explores the world of Ozu, alternating scenes where he observes Japan and culture with interviews with crew and cast-members from Ozu's films. Wim Wenders says, "If in our century something sacred still existed… if there were something like a sacred treasure of the cinema, then for me that would have to be the work of the Japanese director, Yasujiro Ozu. He made fifty-four films. Silent films in the Twenties, black-and-white films in the Thirties and Forties, and finally color films until his death on December 12th, 1963, on his sixtieth birthday. As thoroughly Japanese as they are, these films are, at the same time, universal. In them, I've been able to recognize all families, in all the countries of the world, as well as my parents, my brother and myself. For me, never before and never again since has the cinema been so close to its essence and its purpose: to present an image of man in our century, a usable, true and valid image, in which he not only recognizes himself but from which, above all, he may learn about himself. Ozu's work does not need my praise and such a sacred treasure of the cinema could only reside in the realm of the imagination. And so, my trip to Tokyo was in no way a pilgrimage. I was curious as to whether I still could track down something from this time, whether there was still anything left of this work. Images perhaps, or even people… Or whether so much would have changed in Tokyo in the twenty years since Ozu's death that nothing would be left to find.


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