The canon of great movies can sometimes feel imposing. During the first twenty minutes of Tokyo Story (1953), as the elderly couple settle into their eldest son’s home during their visit to Tokyo, I did think, “This is one of the most acclaimed movies?” Less a reaction to the film being boring or bad, but more just a reaction to continued exchange of polite pleasantries between people (barring the little boys acting rude). This is the second film I’ve seen of director Yasujiro Ozu (Late Spring being the first) so I knew his style was slow and that this was an accumulation, beginning with the ways in which people put on good manners and small talk, particularly within an extended family. By the end of the two hour and twenty minute film, I had tears welling up in my eyes. This is one of the most acclaimed movies, and deservedly so.
Even though Tokyo Story speaks to specific aspects of Japanese culture and the post-war transition to commercial growth, the film still remains very human and empathetic. It doesn’t stop at the obvious melodrama of an elderly couple being palmed off between their adult children during their Tokyo visit. As the narrative progresses, further details are revealed, shining new light on the relationships, from the history of the family and even that the elderly couple are not idealised, with the husband often being rude to the wife in private moments. Even with a film that ends on two characters agreeing that life is disappointing, the film doesn’t feel depressing or dispiriting, just complicated and nuanced, allowing for tenderness and kindness to remain even as characters remain alone in the frame. Great performances, particularly the transcendent Setsuko Hara as Noriko, the daughter-in-law, and Chieko Higashiyama quietly heartbreaking as the unassuming mother.
A beautiful film which gave me a certain warm glow of satisfaction – that I’d finally watched Tokyo Story and that it was as great as they say. Watched a copy on Kanopy. Recommended.
VHS Tracking 