Tokyo Story Review

Tokyo Story is a film that, in my opinion, best captures the emotional complexity of the relationship between a parent and their grow-up child.

With simple dialogue and palpable emotion, director Yasujiro Ozu has managed to make, perhaps, the most thorough, complete-feeling film of all time. 

The story – never the Japanese master’s greatest interest – is a simple one. It followsthe visits paid to their children in Osaka and Tokyo by an elderly couple (Tomi, 68, and Shukishi, 70) from the southern seaside  town of Onomichi. The couple are shown subtle, but substantial cruelty by their children.

The film’s early scenes delve into the cluster of families around Tomi and Shukishi – busy, inattentive doctor Koichi;  hair-salon owner Shige; sweet, widowed daughter-in-law Noriko – observing their sad relations with little or no introduction. Shukishi goes on a sake binge with old pals and they discuss their estrangement from, and disappointment with, their offspring.

All of the roles here are wonderfully acted, particularly Chieko Higashiyama as mournful grandmother Tomi Hirayama. 

Ozu's cinematic style is as exceptional as the rest of the film, with its so-called ‘pillow shots’ (introductory shots of yet-unhabited rooms), low, static camera position, unhurried pacing and elaborately composed frames, offering a refreshing feeling of modernism.

This film is a triumph, and there is absolutely no reason why you shouldn't watch it.

10/10