Tokyo story


” look at the world,… don’t judge”- Ozu Yasujiro


Ozu Yasujiro 1903-1963

“Oz started making films during the silent era, cranking out a couple dozen of them, mostly shorts, between 1927 and 1932 alone. His work in the 1930s started to move away from comedy and toward drama and social criticism, and though he wasn’t a major box-office draw, he was admired by Japanese critics. His career was interrupted by stints in the military during the Second Sino-Japanese War and World War II, and it was after these experiences that he produced his most significant films. He  deal primarily with ordinary human experiences like family, marriage, and death, though Ozu himself never married or had children.

” Tokyo Story”, 1953

tokyo story

Tokyo story. Film demanding, but worth putting an effort. Phlegmatic, full of long scenes and conducive to meditation over their meaning. In chronicle way, Ozu presented the lives of three generations of Japanese, woven into the new reality, the reality of the post-war. The Second World War has touched millions of people in the world, leaving behind deep wounds and scars. However, there is one element, which brings together all those who survived the inferno of war. Back to normality, the new normality. Ozu not only captures the changing era whose influence on social change but I tragedy in the parent-child relationship. The gap between the old and the young generation has gained in Tokyo dimension of maturity. The slow pace of the narrative has been subordinated to the psyche of characters, their sensations and feelings ushering in musing over their fate and gentle compassion towards people’s attitudes. The characteristic element in the story Ozu is lack of central point, multi-threaded plot, where all roads converge to one point.

Aneta Pierzchała in her book “Strangeness overcome? Film Japanese and Japanese culture “in a masterly manner underlined the differences between eastern and western culture.

“We, here in our culture (Western culture), we are obsessed with finding Sense and ascribe meanings. We cannot see things as they are, because they overwhelm them our “superstructure”, which we created. Meanwhile, Japanese culture is facing the emptiness, to nothingness. refined expression of sensitivity, quiet feeling of resignation in the face of the beauty of the world combined with the inevitable destiny of all living things. ”

…….  wklej reszte 


“most scenes as if from the perspective of someone kneeling on the floor, observing the action. This came to be known as the “tatami shot,” referring to the traditional Japanese mat. The camera doesn’t tilt upward, though. It remains level, looking straight ahead, and it almost never moves.

When characters have conversations, Ozu will often have them look almost directly at the camera, as if we are the other person. Then he’ll cut to the other character making his or her reply, also looking at the camera. Even a casual moviegoer will notice that this is different from the usual method of portraying conversations in film. If the tatami shots make us feel like quiet, unnoticed observers, these dialogue shots draw us in, make us part of the action.”


  1. Eleftheriotis, Dimitris; Gary Needham (May 2006). Asian cinemas: a reader and guide
  2. Snider, E., 2011. What’s the Big Deal?: Tokyo Story (1953). MTV News. Available at: [Accessed February 11, 2017].
  3. Snider, E., 2011. What’s the Big Deal?: Tokyo Story (1953). MTV News. Available at: [Accessed February 11, 2017].
  4. Snider, E., 2011. What’s the Big Deal?: Tokyo Story (1953). MTV News. Available at: [Accessed February 11, 2017]
  5. G., 1970. World Cinema Review. Yasujirō Oz u | Tōkyō Monogatari (Tokyo Story). Available at: [Accessed February 11, 2017].

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