- Prior to Yasujirō Ozu's Tokyo Story, the vast majority of Japanese films that I had seen were either anime or samurai pictures. Despite the fact that there are some great films in those two categories, I think it's safe to say that neither class of film is known for its devotion to realism. It was thus somewhat startling to watch Tokyo Story, which is one of the most believable and relatable films I've ever seen. The characters may be Japanese and fifty years removed from the present day, but their experiences are so timeless and universal that the characters transcend all boundaries of culture and time.
- The film is organized around an excursion to Tokyo undertaken by an elderly couple, Shukichi (Chishu Ryu) and Tomi (Chieko Higashiyama) Hirayama. The Hirayamas are traveling to visit their children, most of whom are located either in or en route to Tokyo. Koichi (So Yamamura) is a family doctor and father to two lively children. Shige (Haruko Sugimura) is a beautician who always seems busy with either her job or her active social life. Noriko (Setsuko Hara), technically a daughter-in-law, is an officeworker who has not remarried since her husband disappeared in the war. While all three of the children are happy to see their parents, it quickly becomes apparent that only one of them really understands why the Hirayamas came to Tokyo.
- But of course the Hirayamas are too polite to ever impose on their children. Sure, they'll go to the spa resort in Atami for a few days since everyone is so busy. Maybe Shukichi will even look up his old friends so they can relive their youths drinking sake all night. Soon, it becomes apparent that staying in Tokyo is more of an inconvenience than returning home. The Hirayamas aren't as young as they used to be, and the children all have their own lives now. I suppose these visits never go the way parents expect, but any time with your kids still seems great.
- Unfortunately, the trip back home is more eventful. Tomi falls ill on the train, and they must stop over at the home of one of their other children, Keizo (Shiro Osaka). Finally, they make it back to their own village, where the youngest child Kyoko (Kyoko Kagawa) awaits. Tomi's condition worsens and she slips into a coma. Shukichi tells her everything will be fine, but what else can he say? They send out telegrams and everyone comes back to visit Tomi as she dies. She was always so full of life, they say. Shige worries about inheriting Tomi's clothes, while Koichi frets about getting back to Tokyo on time. Wouldn't you know that Noriko, who actually wanted to spend time with the the Hirayamas in Tokyo, would also be the last to leave?
- Tokyo Story is gentle and contemplative in a way that almost no other film is that I've ever seen. There is some happiness and plenty of melancholy, but no drama beyond that which occurs in real life. The camera work, too, is entirely naturalistic, as though we're a fly on the wall watching a family in its natural environment. I'm actually surprised that I liked the film so much since my inclinations usually lean more toward Hitchcock's famous "slices of cake" than what are commonly called slices of life. Maybe a good film should be able to convince you to like it regardless of your preconceived preferences. At the risk of sounding like an old fuddy-duddy, the saddest part of the film may actually arrive after watching it, when you realize that no movie like this would ever get made today in the United States. The studios would insist on more violence, sex, and conflict, while indie films would make the characters unrelatably quirky.
