Seth Millsap 1

Tokyo Story. Dir. Ozu Yasujir. Shochiku, 1953. Film.

Ozu Yasujir (Japanese naming conventions, first name Yasujr), perhaps Japans most famous
film director, grew to focus more seriously on family themes as his career matured. In Tokyo
Story (1953), the entire action of the movie centers on an elderly couple visiting their five adult
children and young grandchildren. The couple, Shukichi and Tomi Hirayama, are retired and live
with their youngest, unmarried daughter, Kyoko. They begin by visiting the eldest son and
daughter in Tokyo, who are both too busy to spend time entertaining them. Only Noriko, the
couples daughter-in-law (whose husband died in WWII), makes an effort to spend time with
them. The eldest children pay for a hot springs visit for the couple, but they cant sleep with the
busy nightlife and leave the spa. Tomi stays with Noriko and advises that she remarry. They
remark how their children have changed and board the train for home. Although they had
planned to stop in Osaka to see the youngest son, Tomi falls ill. They continue to their hometown
of Onomichi, and Tomis illness worsens. After sending a telegram, the eldest children and
Noriko hurry to see Tomi before she soon succumbs. The youngest son arrives late, and leaves
with the eldest children. Noriko stays, and Kyoko complains to her that the other children are
selfish and inconsiderate. Noriko responds that they are busy and have their own lives to lead;
the drift between child and parent is inevitable. When Kyoko has left for school, Shukichi
confides that, regardless of no blood relation, Noriko has treated them best. He gives her the late
Tomis watch and advises her to remarry. She breaks down in tears and admits her loneliness.
The movie concludes with Noriko leaving on a train while Shukichi and Kyoko remain in
Onomichi.
At many levels, Tokyo Story is exactly what it seems. It depicts the putative waning of
Japanese filial tradition in the post-WWII era that it was actively occurring in. Its themes are
both the actions that make up the characters lives and are forces that the characters fully realize.

Seth Millsap 2
There is minimal dramatic irony: the characters are very self-aware of their lives. The
cinematography speaks more-so. It uses ellipsis, or the omission of unnecessary events,
frequently, and the camera takes very resting shots. It is more reluctant to move than the
characters are, but it still shuffles along.
Quotes:
Kyoko: Isnt life disappointing?
Noriko: (Smiling) Yes, it is.
Shukichi: Perhaps we expect too much from our children
Analysis: Tokyo Story is an extremely affable film that is post-modern in its thematic
minimalism. Its very open to almost any audience for this reason, but similar films often depend
on relation between the audience and characters for this reason. However, the familial nature of
Tokyo Story is open to most people who can, in any mode, relate to a family, although more-so in
Japan. One of its greatest achievements is how little it judges its characters, and how little it tries
to understand its characters beyond what is shown. Its a deeply humanistic movie in this way.