Finally got around to visiting acclaimed director Yasujiro Ozu’s Tokyo Story.  After a few minutes of “WTF did I get myself into? Why is this so great?”  It hit me.  This is really good stuff.  Really.

What am I talking about?  Well, the first few scenes involve an older couple living in the small fishing village of Onomichi.  At first, the acting really threw me.  It seemed forced, and well, kinda bad.  But then as things started getting along, I realized that this was just how the characters of the mother and father were written.  A certain formal “stiffness” that surrounded them.

They decide they need to take a trip to Tokyo, to visit their children.  Well, actually, the entire *plot* really doesn’t matter so much.  Much like the Ozu homage Cafe Lumiere, this isn’t about the events that transpire.  It’s a “window” into the lives of this family, plain and simple.  From the problems each of the sub-families face, to the couple coming to terms with their aging, and the shortcomings of their children, its about how this family deals with life.  And unfortunately, death.

Actually, even though this movie is going on 60 years old now, and from a foreign culture, the events, people, and feelings that occur could be happening anywhere, anytime.  This could be your family, today, in BFE Kansas.

Where the film really shines, though, is in the last “act” if you will.  As the mother passes (yeah I spoiled it a bit), the way the children behave, and the portrayal of the father as he deals with the loss is phenomenal.

Even more so is the final conversation between the father and Noriko, the widow of their son who was killed in the war.  At this moment there’s a sort of “closing” of the generation gap, as these two suddenly have more in common than they would like to admit, and the father praises her as doing more for the family than any of his kids….  Nearly brings a tear to your eye.

Another group of scenes that I found moving was the morning after the mother’s death.  The numerous scenes of the fishing village waking up and carrying on.  Life goes on.  As does the father’s who’s only comment is “what a wonderful dawn it was,” as he goes back into the house.

The way the entirety of the film is shot is quite brilliant, also. The majority of the views occur through halls or doorways, into the rooms of their respective homes. This accentuates the “window” I was talking about. You get the feeling of being the “fly on the wall” if you will, observing this family and their tribulations.

You’ve also got to understand a bit about the culture to get a feel for some of the dialog as well. Especially as it pertains to the widow, Noriko. Her acting might seem wooden and forced, but I think actually this is a pretty good representation. She’s probably nervous as hell speaking to the parents of her dead husband after so many years, and this nervous almost too-polite dialog really makes a lot of sense.

If you can get past the slightly wooden appearing personas of mom and dad, (and Noriko) and get into this film, it will be quite worth your while.

Actually, the entire thing is on YouTube in 13 parts, if you’re so inclined.

Amazon: Tokyo Story – Criterion Collection
IMDB: http://www.imdb.com/title/tt0046438/

Here’s the final minutes of the film which includes the conversation I was talking about in the second clip. Pay attention also to the father’s responses at the table (first clip) when he learns the kids will all be returning home, priceless.

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