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東京物語小津安二郎生誕110年・ニューデジタルリマスター [Blu-ray]

笠智衆 (出演), 東山千栄子 (出演), 小津安二郎 (監督) 形式: Blu-ray

4.6 674個の評価

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フォーマット	ブラック&ホワイト, モノ
コントリビュータ	杉村春子, 小津安二郎, 三宅邦子, 香川京子, 原節子, 笠智衆, 東山千栄子, 山村聰, 大坂志郎, 東野英治郎, 中村伸郎
言語	日本語
稼働時間	2 時間 15 分

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メーカーによる説明


	あの頃映画東京物語(DVD)小津安二郎生誕110年・ニューデジタルリマスター	東京物語小津安二郎生誕110年・ニューデジタルリマスター [Blu-ray]

カスタマーレビュー	674	674
価格	￥2,518	￥4,182
製品仕様	DVD	Blu-ray
発売日	2013/7/6	2002/10/21

商品の説明

小津安二郎監督生誕110年記念
世界No.1映画に選ばれた映画『東京物語』が、ブルーレイで美しく甦る!

本当の家族とは何か…。
子供たちを訪ねた老夫婦を軸に戦後日本における家族の崩壊を描いた小津安二郎の代表作。

●本編は4Kスキャニングによるデジタル修復を実施した放送用HDマスター(2012年NHK BSで初放送)を、さらにブラッシュアップした、2013年ベルリン国際映画祭Berlinale Classics部門で上映された最新のニューデジタルリマスターを使用。
スキャニングしたひとコマひとコマを丁寧に傷消しや色調整を行い、映画館の大画面で上映するデジタルデータから本マスターを作成しています。
本マスター制作にあたり撮影チーフ助手を務めた川又昻氏が監修し、小津監督の狙いを忠実に、1カット1カット丁寧に画調を再現しています。
サウンドも同様に、当時の狙いを忠実に監督助手を3本務めた田中康義氏監修のもと、松竹の修復をすべて手掛けている清水和法氏が修復を担当しています。

●本編には、英語字幕・日本語字幕も収録!
さらに、笠智衆・川又昴(撮影助手)・斉藤武市(助監督)・白井佳夫(映画評論家)による貴重なオーディオ・コメンタリー(1984年に収録したもの)を収録!

●10年に一度行われる、世界の映画監督が選ぶ"世界一の映画"に選出!
※10年に一度、世界の映画監督358人が投票で決める最も優れた映画に『東京物語』が選出。(2012年8月2日に発表。英国映画協会発行「サイト・アンド・サウンド」誌にて。同誌は10年ごとに映画50選を発表。)
1位『東京物語』小津安二郎監督
2位『2001年宇宙の旅』スタンリー・キューブリック監督
2位『市民ケーン』オーソン・ウェルズ監督
4位『8 1/2』フェデリコ・フェリーニ監督
5位『タクシードライバー』マーティン・スコセッシ監督

●2013年は小津安二郎生誕110年、没後50年のメモリアルイヤー。生誕日である12月12日に向け、様々な展開が予定されてます。

●小津映画の集大成ともいえる作品ローポジション、カメラの固定、人物の正面からの撮影など、「小津調」とも形容される独自の技法を用いながら、親子関係を淡々と描いた本作は、戦後すぐの作品でありながら、今日の家族問題に通じるテーマも多く含んだ“普遍的な家族の物語"であり、公開から60年近く経った現在でも、不朽の名作として世界中で愛され続けている。

【映像・音声特典】
●特報・予告
●オーディオコメンタリー笠智衆・川又昴(撮影助手)・斉藤武市(助監督)・白井佳夫(映画評論家) ※1984年収録
●日本語字幕/英語字幕

※初回限定版は販売終了しています。

登録情報

アスペクト比 ‏ : ‎ 1.33:1
言語 ‏ : ‎ 日本語
製品サイズ ‏ : ‎ 25 x 2.2 x 18 cm; 279.99 g
EAN ‏ : ‎ 4988105101890
監督 ‏ : ‎ 小津安二郎
メディア形式 ‏ : ‎ ブラック&ホワイト, モノ
時間 ‏ : ‎ 2 時間 15 分
発売日 ‏ : ‎ 2013/7/6
出演 ‏ : ‎ 笠智衆, 東山千栄子, 原節子, 杉村春子, 山村聰
字幕: ‏ : ‎ 日本語, 英語
言語 ‏ : ‎ 日本語 (Mono)
販売元 ‏ : ‎ 松竹
ASIN ‏ : ‎ B00C7GDOMQ
原産国 ‏ : ‎ 日本
ディスク枚数 ‏ : ‎ 1

Amazon 売れ筋ランキング: - 24,545位DVD (DVDの売れ筋ランキングを見る)
- - 751位ブルーレイ日本映画
- - 1,217位日本のドラマ映画

カスタマーレビュー:
4.6 674個の評価

カスタマーレビュー

5つのうち4.6つ

674グローバルレーティング

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レビューのソート基準

上位レビュー、対象国：日本

レビューのフィルタリング中に問題が発生しました。後でもう一度試してください。

無果汁

淡々としていて、だからこそ泥臭い人間描写。

2024年5月30日に日本でレビュー済み

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都会での日々の生活に、忙しく生きる人々。
決して望んでそうなっているわけではないんだけれど、
いつの間にかあらゆるものに追われながら生きている。

十分にもてなしてあげられないけれど、それどころではない日々。
田舎からの知らせを淡々と受け入れ、着る物の準備や帰省の手配などを少し面倒に感じながら始める様子。
そこで過剰な悲しみの演出は一切なく、むしろかえって生々しくリアルで泥臭い描写。墓に布団は着せられぬ。。

かといって、そのような状況を批判的に描き出すわけではなく、
むしろ寄り添うようなメッセージを最後に置いていく。

なんだかとてもチクチクと刺さるんだけど、でもどこか優しく撫でてくれるようなそんな作品でした。

2024年2月21日に日本でレビュー済み

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紀子の止まった時間が動き出すの暗喩かも

役に立った

Inoo Tanaka / 田中猪夫

主人公の年代に近い60代になってから観る東京物語は、格別な感動がある！

2023年7月9日に日本でレビュー済み

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スーパーマーケットで買い物をしていたら、お盆のセットがいろいろ並んでいた。東京のお盆は8月ではなく、7月と他の地域より1ヶ月早い。なんとなく東京物語を観たくなり、何十年ぶりかに観てみた。

　極めて日本的な映画だが、世界中の映画監督が最高の映画だと評価する東京物語。以前に観たときより、60歳を過ぎた今の方が感動することを発見した。世界中の映画監督にも家族があり、自らも年老いていく。そのため、人物像の対比で浮き彫りになる親子関係が心に刺さるのだろう。

　主人公はおそらく60代後半から70代前半。その妻は68歳でこの世を去る。50代で定年を迎え、残りの人生が十数年の時代の物語だ。これが人生100年時代と寿命が伸びる中、主人公の年齢を10年、20年シフトしたとしたら、また別の東京物語となっただろう。

　東京物語には元ネタがあることをはじめて知った。アメリカのレオ・マッケリー監督による『明日は来らず』（Make Way for Tomorrow）がそれだ。老夫婦の自宅が売却され、子供たちに別々に引き取られて離れるという物語だという。東京物語は極めて日本的映画と前述したが、このテーマは国境を意識させない普遍的なテーマだ。主人公の年代に近い60代になってから観る東京物語は、格別な感動がある。

16人のお客様がこれが役に立ったと考えています

役に立った

しかばねさん

家族の普遍性　時代を超えて

2024年4月21日に日本でレビュー済み

名作とうたわれる東京物語。
半世紀近く前の映画のため，淡々と進んでいく物語，展開の遅さでとっつきにくい印象は否めない。
それでも，だんだんと引き込まれ，終幕を見た瞬間にこの映画は名作だと心から思った。

きっと大人になればなるほど，感じられる事が増えるのだろう。
自分の人生と重ね合わせて，気持ちをフィルムに投影することができる。

個人的な見どころは
昭和中期の情景
酔っ払いの演技
原節子

原節子の存在は時代を超越している。

2023年9月16日に日本でレビュー済み

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肉親だからこそ欠ける愛情。他人だからこそ大きくなる愛情。
これは事実。
夫婦が他人同士である証拠。
深い。やっぱり世代を超えた映画は深い。

4人のお客様がこれが役に立ったと考えています

役に立った

ナワリヌイ

親子

2023年6月28日に日本でレビュー済み

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現在に通にじる、親子の関係、特に結婚後の忙しいときへの親の対応に関する息子及び息子嫁、娘の心情が生生しく描かれていました。

2023年5月18日に日本でレビュー済み

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グループホームの方々の為に購入しました。90過ぎた方も認知症の方も、画面に見いっていました。

3人のお客様がこれが役に立ったと考えています

役に立った

オーネスト. H.

猛省、画質を含め、もう少し頑張ってくれないと

2014年7月22日に日本でレビュー済み

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「東京物語」を最初に見たのはクライテリオン版のDVDで、かれこれ15年ほど前ではないかと思う。
以後4回ほど見ている。
今回デジタルリマスター版のblu-rayが販売されていたので、購入し日本版と北米クライテリオン版のblu-rayを比較しながらtotalで2回鑑賞した。

「東京物語」を見ながら、年齢をとった分、作品の良さがよりよく理解できる事を発見し、
一生懸命生き、その過程で何かを失うことが、人生に何らかのものを付加してくれているんだなと、
少しうれしくなった。

中野翠の「小津ごのみ」に記されているが、

小津はストーリーや感情を推進力として使わない映画。ドラマティックでなく随筆風の映画をめざし。
「感情過多は、ドラマの説明にはなるが表現にはならない。いたずらに激しいことがドラマの面白さではなく、ドラマの本質は人格を作り上げることだ。」と語り、説明ではなく表現する映画を目指していた。
そして、大切なことはかくすという美学をつらぬいている。

今回は、映画を見終えたときに、セリフで語られない様々なものを感じながら、平山家の家族の一人として時を過ごすことができて、素晴らしい体験をしたが、

「親子ってそんなもんじゃないと思う」
「だけどね京子さん　あたしもあなたぐらいの時にはそう思ってたのよ　でも子供って大きくなると　だんだん親から離れていくもんじゃないかしら？　お姉様ぐらいになるともうお父様　お母様と別の　お姉様だけの生活ってものがあるのよ　みんな自分の生活が1番大事なってくるよ」
「そうかしらでもあたしそんなふうになりたくない　それじゃあ親子なんて随分つまらない」
「そうねぇ　でも　みんなそうなっていくんじゃないかしら　だんだんそうなるのよ。ええ　なりたくないけど　やっぱりそうなっていくわよ」

「いやね世の中って」

「そう嫌なことばかり」

の部分で涙が止まらなくなってしまった。

また、この映画、「白魚」の撮影中の事故で、カメラマンである実兄が亡くなった１３日後に撮影が開始している事を知って作品を鑑賞すると、
夫を失った未亡人紀子の表面上の明るさと、内面の寂しさが迫真の演技であるのが、原節子の実生活を反映しているのかと思われ、あらためて深く胸に迫ってきた。

さて映像の部分だが、

日本版は、明暗のメリハリが悪く、暗い部分が沈みよく見えず、空の色もどんよりとしており、全ての映像が曇天のもとにあるように思えるくすんだ映像でがっかりさせられる。
他方、北米クライテリオン版の映像は、影の部分でも細部まで映像を見通すことができ、紀子との東京見物のあたりの空の明るさもしっかりとらえられており、映像にメリハリがあり細部まで見通しのきく、美しい映像になっている。
日本版3点、クライテリオン版4.5点。

音声では、北米クライテリオン版では、さらに小さなノイズが取り除かれており、音声が清明になっている。
日本版4点、クライテリオン版5点。

どうして同じ、デジタル情報からこれだけの映像、音声の差が出るのか、bluray作成に携わったものには猛省を促したい。

Extraでは、クライテリオン版にはTrailerに加えて、

「小津と語る」、7人の映画監督(Stanley Kwan, Aki Kurasmaki, Claire Denis, Lindsay Anderson, Paul Schrader, Wim Wenders, and Hsiao-Hsien)が小津映画についてそれぞれの思いを語る、40分の短編映画。
「生きてはみたけれど」、小津の伝記映画で、小津が同性愛者であることを示唆するエピソードを盛り込んだ"深い"ドキュメンタリー映画 (123分) 。
「笠智衆と大船撮影所」、笠智衆の自伝と大船撮影所でとられた作品を解説した46分の短編映画。

さらにDavid Desserのaudio commentary　120分が付加されていて、5時間以上のExtraがついていて、
さながら小津映画の教育講座のような充実ぶりである。

この作品は周知のとおり世界の宝です。
会社で言われたとおりに仕事をしてますといった日本版のbluray作りは納得できません。

40人のお客様がこれが役に立ったと考えています

役に立った

他の国からのトップレビュー

すべてのレビューを日本語に翻訳

Old Cinephile

"None can serve his parents beyond the grave"

2024年5月10日にアメリカ合衆国でレビュー済み

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Reading the tremendous rave reviews both here and all around the internet for this great Japanese postwar masterpiece it's easy to understand just how important Yasujiro Ozu's "Tokyo Story" is in the pantheon of art, cinema and social commentary. While quintessentially Japanese its themes are indeed universal. Ignored parents. Thankless children. The burdens of modern society. Meanings of "true" family vs "blood" relatives. All covered with a beautiful, quiet, Zen like simplicity that is Ozu's style. No hyped-up musical cues. No melodrama or histrionics. Just humanity warts and all told straight. The entire cast is fantastic, but the great Setsuko Hara dominates the arc of the film as Noriko, the daughter in law. Her quiet humility is something to behold and its release and denouement at the end is particularly powerful. Whether you are a casual movie fan or a hard core cinephile "Tokyo Story" demands at least a watch. Absolutely essential.
Criterion does its usual fantastic job at remastering for their Blu-ray series. Since there is no original negative left a copy was scanned at 4K and does a more than decent job with minimal noise and film damage. Many interior shots look great with tight grain and lots of grayscale shading. The remastered mono soundtrack is clear and clean with no distortion. Excellent supplements include a two-hour documentary on Ozu along with several other tributes and commentaries. Truly a must own disc for any physical media collection!

1人のお客様がこれが役に立ったと考えています

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Kinman

A masterpiece worth your patience.

2018年7月2日にカナダでレビュー済み

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Meticulous, maybe a bit slow for many. But it is a fantastic and very moving story that you cannot hurry. Finely layered and worth every minute of it.

2人のお客様がこれが役に立ったと考えています

レビューを日本語に翻訳する

Arborio

Tesoro de la vida cotidiana.

2017年4月14日にメキシコでレビュー済み

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Hay gente que considera esta película como una de las mejores que se han realizado. Ozu es un director único cuyo manejo de la historia, de los espacios y de las relaciones entre generaciones distintas, hacen que sus películas sean pequeños tesoros. No esperen escenas espectaculares, ni grandes dramas. Lo que Ozu ofrece con la cámara es algo que va más allá de lo que ahora se valora en las películas modernas y occidentales. Tokyo Story es una gran película, pero no es para cualquiera.

2人のお客様がこれが役に立ったと考えています

レビューを日本語に翻訳する

Santi (Catalonia)

Única

2014年1月9日にスペインでレビュー済み

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Si tuviera que escoger las 10 películas que más me han gustado en toda mi vida "TOKYO STORY" estaría entre las primeras,
la obra maestra de Yasujiro Ozu es de visión obligatoria para cualquier persona que ame el buen cine.

1人のお客様がこれが役に立ったと考えています

レビューを日本語に翻訳する

Film Buff

Two great films from the master of minimalism

2013年11月15日に英国でレビュー済み

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Ozu Yasujirô was one of the greatest film directors and after decades of obscurity outside Japan it is cause for celebration that at last BFI are doing him proud by releasing all 36 of his surviving films on both DVD and Blu-ray. The way the films are being released is also to be applauded. The earliest films have been offered in box sets, the Student Comedies and the Gangster Films making up two desirable items, while the late post-war masterpieces are offered in duel releases, the Blu-ray versions as supplements to the DVDs containing one `main' feature each coupled with one of his earlier sound films from the 30s/40s. In this way we get to see rare films which we ordinarily might pass over and realize that they are every bit as good as the main features they support.

Ozu's greatness is evidenced by a staggeringly high level of consistency throughout his output from his early silents to his final austere masterworks. None of his films are revered more than Tokyo Story and its release here is as good as it's ever likely to be. A fire destroyed the original negative and only second-rate copies stay in existence - hence the poor quality compared with other Ozu of this period. Still, the b/w images are crisp and the sound sharp. Not having a Blu-ray player I can't comment on the first disc, but the DVD is certainly very good. The support feature is The Brothers and Sisters of the Toda Family which has been chosen by BFI because it has the same theme of generation conflict and people being spurned within their own families. In Tokyo Story the grandparents are pushed from pillar to post, none of their unloving children wanting to take care of them. In Toda Family it is the grandmother and the unmarried daughter who get the treatment. The quality of the original transfer of Toda Family, alas, isn't top notch. There's a lot of surface noise, especially when reels are changed with volume drop outs and surface scratching. Even though BFI have obviously done the best they can with the original source the picture quality is blurry at best. That said it is still watchable and we can see that it's a wonderful film which in its own way is as good as Tokyo Story, in fact providing a very thought-provoking contrast. The earlier film reflects the optimism of pre-Pearl Harbor Japan when the war was still going their way, while the later masterpiece is pregnant with the air of defeat and post-war melancholy. BFI have released the 2 discs with a decent booklet carrying a useful article by Joan Mellen, a reaction to Tokyo Story by NFT programmer John Gillet, full cast details and a brief biography of Ozu by Tony Rayns. I have one slight caveat concerning the complete lack of extras. Tokyo Story consistently appears in experts' Top 10s and for a film of this stature surely a commentary (by someone informed about Ozu and Japanese culture) is in order. Nevertheless, this issue is strongly recommended - essential viewing in fact.

Before I turn to the films in more detail, as a long-term resident in Japan I'd like to offer a few insights into what makes Ozu special. He has been called `the most Japanese' of the great directors and of the `big three' I'd say this is true though Mizoguchi Kenji also has a strong claim. But where Mizoguchi's focus lies on `high' Japanese culture (folk tales, Kabuki theater, Nôh drama, etc) Ozu's subject is everyday family life. His films reflect culture and attitudes that are unique to Japan which foreigners (I'm thinking of myself when I first arrived here 20 years ago) find opaque and difficult to comprehend. There is no doubt that the family is the central unit of Japanese society and Ozu's films are full of the feeling of maintaining `wa' (harmony) between family members and friends. Society here is anything but straightforward. Nothing is said or done directly (for example, in the Japanese language there are no words for `yes' or `no' and opinion-giving is frowned upon) for fear of causing offence and it is the upholding of an agreeable `tatamae' (surface) which is the oil of Japanese social discourse. For this reason Ozu's films are full of (seemingly) mundane conversations about everyday things - the weather, basic greetings, conversation about superficial subjects and statements of the obvious. Family occasions and ceremonies assume central importance with funerals, weddings and commemoration rituals taking up so much of the narrative focus even if (through typical Ozu narrative ellipsis) they might not be shown.

Japanese people generally avoid direct statement of emotions and foreigners not used to the country might find this odd and cold, but beneath the (for foreigners) bland surface harmony there is an ocean of deep emotion which is evidenced only obliquely, subtly and with great restraint. It is this feeling that lies at the heart of Ozu's universe. For those with the equipment to register it (Japanese people and those foreigners who understand their mentality) his films are extraordinarily moving. For those without, even if the technical achievements can still be grasped, the films may appear to be about nothing at all. This is the barrier preventing many from appreciating Ozu.

International producers were scared to release films which seemed only to appeal to insular Japanese tastes. In the 1950s when both Ozu and Mizoguchi were arguably at their height it was perhaps their misfortune to fall under the shadow of Kurosawa Akira, their younger `rival' who propelled Japanese cinema onto the world stage in 1950 by triumphing at Cannes with Rashomon. This was the first Japanese film most Americans and Europeans had ever seen and audiences of the time can be forgiven for assuming that Kurosawa's cinema was emblematic of Japanese culture as a whole, but looked at objectively we can see that influences on Kurosawa (ranging from Shakespeare to Dostoyevsky and from John Ford to Carl Theodor Dreyer) were fundamentally western. In fact his films have never sat easily with some Japanese people because of their bold metaphysical speculation where images and script are always aiming to `make a statement'. It's important to realize that this is fundamentally a western aesthetic and that a number of people in Japan accused Kurosawa (some still do) of intellectual snobbery and arrogance. The fact that after he left Toho studio in 1965 he had difficulty finding funds, ending up going to Russia to make Dersu Uzala and then making Kagemusha, Dreams and Ran with foreign money, shows how much he was ill-trusted in his home country.

Contrast Kurosawa with Ozu. Ozu was a life-long Shochiku company `salaryman', making only 3 of his 53 films away from that studio. From the time of The Brothers and Sisters of the Toda Family onwards he was considered a model of reliability in that he made shômin geki (domestic dramas) which made pots of money for Shochiku who were happy to let him use their best actors and technicians. Foreigners might see Ozu as an art house name, a director who made odd films of little interest to a wider audience. Actually, he was hugely popular in Japan, capturing great commercial success when he was alive. The artists that made up the Ozu family who always worked with him (writers Fushimi Akira, Ikeda Tadao and Noda Kôgo; cameramen Yuharu Atsuta and Mohara Hideo; composers Itô Senji and Saitô Kojun; actors Hara Setsuko, Iida Choko, Mitsui Koji, Miyake Kuniko, Sugimura Haruko, Ryû Chishû, Saburi Shin and others) all owe their careers to him and stay deeply loved by Japanese people to this day. Unlike Mizoguchi, Ozu showed indifference to whether he was accepted (or even distributed) overseas and was content to make films about his favorite subjects, adopting reactionary techniques which seemed to contradict the norm at the time, but consequently now seem so modern with his achievements surely set to last. Ozu's famous `minimalist' technique is rendered through his suppression of usual dramatic effect by the heavy usage of narrative ellipse, a camera that almost never moves, cutaway so-called `pillow shots' of buildings or nature which act as continuity links, precise `square' framing of images with a low camera looking up at characters (an aesthetic reflecting the interior design of Japanese houses and the screens and tatami straw mats which surround lives which take place mainly on the floor), and a tendency to shoot actors' faces full-on rather than using the over-the-shoulder, action-reaction approach of traditional Hollywood cinema. This puts the audience squarely in the film itself, a feeling alien to those weaned on the western norm.

The world of Ozu wasn't so different from the world of his Japanese audiences when his films were first released and the attendant themes involved (family conflict, social transition, a search for selflessness which is seldom found, the growing up process) reverberate strongly even in today's society in Japan. His films are simple, dedicated and reflect on the deepest of emotions in everyday life without resorting to intellectual bombast or camera trickery. Ozu's aesthetic is pure, subtle, refined and it is in this indirect appeal to our emotions that he shows his innate Japanese-ness. I have already said that Japanese people are not known for showing their emotions directly, but that does not mean they are not emotional. An Ozu film is a hugely emotional experience which is achieved as it were out of nothing. The biggest compliment you can give an actor, a writer or a director is where the mechanics of their craft disappear, and in an Ozu film everything seems effortless and completely natural. One would never know Ozu had prepared each scene meticulously at the script stage, had every camera set-up firmly in his head in advance and went on to demand absolute obedience to his complex preparations from everyone while shooting on set.

In the 50s when Europe was about to be hit by a French New Wave of vibrant self-reflexive film-making, the reactionary Ozu was going in the opposite direction, crafting out exquisite family dramas where ticks and tropes of style don't exist. We are moved in a profound and quietly devastating manner which is really quite unique to him, though echoes of his style are to be found today in the films of Hou Hsiao Hsien and Kore-eda Hirokazu. In fact in a world where the films of Theo Angelopoulos, Abbas Kiarostami and Béla Tarr (other masters of the narrative ellipse who are often accused of obscurity) have found sympathetic audiences around the world perhaps the climate is now right for Ozu to be recognized everywhere as the master he really was.

BROTHERS AND SISTERS OF THE TODA FAMILY (Todake no kyôdai)
(Japan, 1941, 100 minutes, b/w, Japanese language - English subtitles, Original aspect ratio 1.33:1)
This was a landmark film for Ozu. His 38th feature, it was his first box office hit and together with the following hugely popular There was a Father (Chichi Ariki) (1942) it cemented the trust that Shochiku studio had in him following his return from fighting in China, paving the way for an extraordinarily fertile post-war period. Ozu wrote the story with his regular collaborator Ikeda Tadao, but this was the first time cinematographer Yuharu Atsuta and actors Saburi Shin and Takamine Mieko worked with him. All would be Ozu regulars from this film onwards.

The film charts the disintegration of the rich Toda family introduced at the beginning by a family photograph session taking place in their imposing back garden to celebrate the birthday of Mrs. Toda (Katsuragi Ayako). She and her husband Shintaro (Fujino Hideo) have five grown up children, two sons and three daughters. It takes time for the film to introduce these characters, and at the beginning it is only the second unmarried son, Shojiro (Saburi Shin) who stands out because of his bad manner. His tardiness for the photo and his immediate disappearance to go fishing would appear to mark him out as a bad egg, but actually in typical Ozu fashion he undergoes a redemption and turns out to be the only offspring/sibling worthy of the name. The evening of the photo session, the patriarch of the family has a heart attack and in a trademark ellipse we cut straight from sibling reaction to the otsuya (the ceremony performed on the eve of the funeral) shown with a camera shot of an array of the guests' bowler hats on a tatami floor, the ceremony taking place in the next room. Shojiro's tardiness is again emphasized. The siblings gather later to digest the news that their father has died leaving massive debts that must be paid by selling off family property and artifacts. This leaves the widowed matriarch and the youngest unmarried daughter, Setsuko (Takamine Mieko) in a state of penury and totally reliant on the charity of the older married siblings.

Ozu demonstrates the cold selfishness of the second generation over the events of the next year. With Shojiro working in China, at first the two ladies live with the eldest son, Shinichiro (Saito Tatsuo) and his self-obsessed wife Kazuko (Miyake Kumiko) who uses them as servants, getting rid of them when she receives guests and ordering them to go shopping for her. Unable to stand the humiliation, the two victims try their luck with the eldest sister Chizuru (Yoshikawa Mitsuko) who is even worse than Kazuko. A terrible snob, she forbids Setsuko to get a job for fear of embarrassing the family and attacks her own mother for conniving with her truant-playing son. The downward spiral reaches rock bottom when the two `exiles' visit the second sister, Ayako (Tsubouchi Yoshiko). In Japanese culture it is rude to ask for anything. You have to wait to be asked by the other person who hopefully is sensitive to your need. So when the pair tell Ayako they plan to move back into the dilapidated old family home the sister is supposed to recognize her responsibility and offer them her house. Instead, in crass violation of basic Japanese courtesy she seizes the chance to get rid of them by supporting their proposal.

Ozu's treatment of the story is typically simple and direct. There are no arguments, no histrionics, just quiet defiance and the spirit of `gaman' (toleration) shown by the victims. And yet their plight is rendered so terribly moving through subtle means - Setsuko complaining to her friend Tokiko (Kuwano Kayoko) in very mild terms, Mrs. Toda's resigned tolerance of Chizuru's selfish bullying of her, and in simple cutaways to the picture of the dead husband on the wall presiding over events and the caged bird symbolizing their owners' caged existence. The sadness of the film is leavened by the happy conclusion, Shojiro returning from China for the father's ishuki (first year death anniversary) to tick off his siblings. He sends them all packing and agrees to look after his mother and Setsuko by taking them back to China with him. He even agrees to an arranged marriage with Setsuko's dull friend Tokiko. The caged bird also gets to join in the fun. The idea of a Japanese family escaping to a country against which they had been fighting an aggressive war for over a decade might raise a few eye-brows in today's western audiences, but the film's concluding lightness and satirical touch is entirely typical of Ozu's pre-war style. As Tokyo Story reflects, things in Japan were about to take an altogether darker turn.

TOKYO STORY (Tôkyô Monogatari)
(Japan, 1953, 136 minutes, b/w, Japanese language - English subtitles, Original aspect ratio 1.33:1)
With so many glowing reviews and articles on the net celebrating this glorious film, it is difficult for me to know what else I could possibly add. It is one of my favorites and indeed it's difficult to imagine a more perfect film. As always with Ozu the subject is family, specifically the relationships between parents and children and the generation conflict that rages between them. This conflict is on one level entirely natural, but in his post-war films there is a second level of enforced melancholy imposed by Japan's defeat in World War II.

The film opens on a quiet coastal town scene (a place called Onomichi in southwest Japan) with images of transience and impending change - boats move in the harbor, a train is seen and a whistle is heard. Watch carefully here as the images are echoed right at the end giving the film a miraculous sense of balance. We cut to an old couple, Shukichi and Tomi Hirayama (the wonderful Ryû Chishû and the no-less perfect Higashiyama Chieko) who are packing for an impending trip. The film's `drama', if it can be called that, revolves around their trip to Osaka and Tokyo to visit their four grown-up children, leaving the fifth unmarried youngest daughter Kyôko (Kagawa Kyôko) behind. Following the pattern of Toda Family they visit their offspring in descending order of age and find that each one of them is so involved in their own lives that they have no time to treat their parents properly. The oldest son Koichi (Yamamura So) is a pediatrician who with his wife spoil their two children rotten and fail to acknowledge their responsibilities. Feeling like intruders, the old couple move on to the eldest daughter, Shige (Sugimura Haruko). Shige runs a hairdressing salon and is reluctant to give over space and time to the couple. She and Koichi decide to get rid of the old couple, splitting the cost and booking them into a noisy inn at the seaside where they spend a very uncomfortable night - the scene where they are disturbed in bed by the noise with the camera simply pointing at their slippers outside their door is heart-breaking.

The next morning Tomi complains of a slight pain in her back. That's all we need in an Ozu film to know that tragedy is not far away. They return to Tokyo and don't know where to go. Both Koichi and Shige have shown little signs of welcome and they bide their time in Ueno Park (a place known in Japan as a place where derelicts hang out). The couple decide to split up, Tomi imposing on Noriko (Hara Setsuko), the widowed wife of their son Shoji who was killed in the war, and Shukichi going drinking with two old mates. These two scenes are very interesting, the first dwelling on Japan's loss in the war, the sacrifices Noriko has had to make and the feeling that she must stop dwelling on the past and think to the future by searching out a new husband. The second depicts the disappointment of the old generation in the lack of ambition of the new. Again, the transformation in Japanese society is subtly dealt with by the acknowledgment that children can never grow up to satisfy their parents enough. A very funny drunk scene (you would never guess Ryû Chishû is playing a character 20 years older than his real life age) where he and his friend crash in on Shige is followed by the next morning's brief farewell scene at Tokyo station. Ozu inserts one of his astonishing ellipses which omits the train ride, shows the couple briefly in their youngest son Keizo's (Osaka Shirô) apartment with a brief reference to Tomi's sickness on the train, and the next thing we know they are home in Onomichi and the siblings are making preparations to visit Tomi who is now critically ill.

The film's pulsing heart lies in the absolutely staggering performance of Hara Setsuko as Noriko (this film is part three of the so-called `Noriko Trilogy', the other two being Late Spring and Early Summer where Hara plays two other - unconnected - characters of the same name). She is the only one who displays love and consideration to her parents-in-law as she takes them sight-seeing around Tokyo and puts up Tomi, her dark dingy apartment demonstrating that though she has suffered greatly she gives much more to Tomi than any of her richer siblings in-law. In a sequence which says everything about the heart-breaking subtlety of Ozu's style, when everyone convenes in Onomichi it turns out that Noriko hasn't brought her mofuku (funeral kimono) with her. She has come only thinking her mother-in-law will live. Shige however arrives with her mofuku at the ready and after Tomi passes away she demands to take Tomi's kimono and obi (the kimono's belt) in a very cold fashion. One lady has come to Onomichi thinking about life and what she can do to help her mother-in-law while the other lady has come only thinking about death and how she can make something out of it.

And yet, the beauty of the film lies in Ozu's even-handed treatment of the characters. Even the worst characters are shown to be sympathetic as shown in the wonderful final dialog when Kyôko is leaving Noriko for the last time. She complains bitterly about how cold and selfish her siblings are, but the worldly wise Noriko advises that their behavior is simply normal. In the straightened condition of post-war Japan people really only have time to think about themselves and it is right to prioritize the concerns of their own offspring over their parents. As Noriko says, that is the nature of life. And really if we look closely at the behavior of the older siblings, both Koichi and Shige are trapped by their circumstances. Koichi can't take care of his parents because he has patients to tend while as despicable as Shige's behavior appears to be (especially to western eyes) when she breaks down into tears on hearing her mother is about to die, she is completely redeemed (we must remember that Sugimura Haruko was deeply beloved of Japanese audiences). Ozu is even careful not to make the old people completely `good'. There are references to Shukichi's past heavy drinking and his comment that he regrets not having been kinder to his wife while she was alive. The film is full of very real tangible emotion, but it never overflows into sentimental soap as the same story would in a Hollywood version. The ending of this film is the most moving ending in all of cinema and it's achieved with the most delicate restraint.

Tokyo Story is always singled out for huge praise, but this is because it was the only one of Ozu's films to be released overseas during this period. There are two reasons for this. The first is that it's slightly more melodramatic (and therefore `accessible') than usual for Ozu, while the second is that the story of an old couple being spurned by the younger generation is something western audiences can easily relate to, the film being less `Japanese' than other masterpieces from this period like Late Spring and Early Summer which carry cultural references which might seem opaque to foreigners. Lovers of Ozu will know though that a number of his films are indeed on the same exalted level as Tokyo Story. To ask which one is Ozu's best is rather like asking which Beethoven symphony (or should I say `Bach cantata'?) is the best. The question is redundant - all his films demand to be seen.

35人のお客様がこれが役に立ったと考えています

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