Rating: 
Summary: A graceful, subtle, powerful film from Ozu
Review: I have only recently begun exploring some of the works of the eminent Japanese director Yasujiro Ozu, and while I was able to appreciate the greatness of FLOATING WEEDS, it is his TOKYO STORY that I will remember more. Plotwise, Ozu offers more a scenario than an actual story: two elderly parents go to Tokyo to visit their children, who do not necessarily welcome them warmly. From that simple scenario, though, Ozu creates scenes that say so little and yet say so much about familial relations. That is the power of his minimalist style: a lot is left unsaid among the characters, but many things are implied, and of course it is left to the viewer to pick up on the implications and perhaps reflect on them. (The parents' children, for example, all feel exasperation at what they see as their burden when their parents arrive, but only Noriko, the widow of one of their dead sons, is truly nice to them. Obviously that says something about the others...)Watching TOKYO STORY, I felt like I was in the presence of a wise old man who I felt could teach me, in his own silent way, a lot of things about life, especially when I eventually grow up (I am only eighteen myself) and perhaps run into these same situations that Ozu illustrates in this film. Perhaps people might react differently to this film---older people might identify with the situations, while younger ones might react in a more objective but fascinated manner. Either way, I don't think anyone who chances upon this wonderful film will not be moved in some way. What you see with every shot and every image in TOKYO STORY is life---plain and simple. It's so realistic it's haunting.
Rating:
Summary: A Family: It's who we all are.
Review: I saw this movie several years ago with some 100% Japanese girlfriends who had never been to Japan, and rented this tape to prepare their 1st visit w/their Japanese family in Japan. I am only half Japanese, but spent the first 8 years of my life there and return quite frequently. I don't think there is another movie out there that can really flood my eyes. The director's narrative and cinematography to this story is so precise and poignant about families, universally, is what makes it such a High rated classic. The children grow up, move away from their family in the countryside and forget about their parents, even when they come to visit. Busy and tirelessly uncontent with their own lives in Tokyo, hiding their lack of success in the big city, the "children" never see the true blessing to their existence and the "joy" of family. The parents realize they raised a bunch of selfish children who really don't care much about them and decide to maybe return home. There is one character who has lost her parents and is more than willing to take the visiting parents around. The children are striving for other "material" happiness, yet the very thing that could root them is what they avoid, family.
Around the world I have seen the happiest families, 3 generations, under one roof. Somehow when families depart and move it's easy to forget and avoid and eventually isolate. This movie reminds me of my family life in Japan, the honesty of the charcters and actions and non-actions had me sobbing the whole way through. This movie transcends all languages and families as these emotions are the human condition. Oddly enough, my Japanese-American friends were confused by how emotional this movie made me. Sadly, I really felt their family value: detatched. This movie is a great reminder to respect your family, no matter what. Their time is not forever, and neither is yours.
Rating: 
Summary: not worth watching
Review: i would give this film zero stars, but it won't let me.
this is a realist film. it's long, and it's boring. not that i hate realist films. but this one is predictable, and i was waiting the whole time for the end to come. i guess i'm just unsympathetic to what others called "insight to the human condition." just because others consider this a classic, doesn't mean you have to.
Rating:
Summary: I love this story!
Review: I'm a japanese and I love this warm story. you'll love it. you may rethink your parents as somebody complicated..... but please love your family more and more.
Rating:
Summary: A MOVING MASTERPIECE!
Review: If I had to choose the 10 best movies ever made this would be close to number one. One wonders that cinema could be this: a life-enriching, moving masterpiece, that actually makes you feel better about Humankind and hopeful for the future. Capra's It's a Wonderful Life is the only film I love as much as Tokyo Story. Please, PLEASE! When the DVD?
Rating:
Summary: one of the finest film of the finest japanese director
Review: In the last ten years, the reputation of Tokyo Story was incredibly growing until it is at the moment probably the most famous japanese film. Beside the fact that Ozu made at least ten films of the quality of Tokyo Story, this film suffered among his late films most through the bad material of the survived prints. It was neccesary to restore it. But I have my doubts in the bonus material. The film I have lived, but about Ozu is quite stupid, full of cliches and I don't understand why this documentary was chosen for this DVD. The other documentary, TALKING WITH OZU is a little jewel. 8 filmmakers are talking about Ozu. The most touching interview is the one with Hongkong filmmaker Stanley Kwan.
Rating:
Summary: Are you kind to your parents?
Review: Like many of Ozu's films, "Tokyo Story" ("Tokyo Monogatari") examines a very simple stage in life, one that I hope most of us will be lucky enough to encounter at some time or another. In this case, it is how we treat our parents once we no longer need them for survival. Are they a bother? Do we resent their old-fashioned ways and slower pace? Are we perhaps a bit too eager to shuffle them to the sidelines? The story seems so simple, an elderly couple leaves the country to visit their children who have moved away to Tokyo. Country folk meet city folk, age meets youth, life meets death. There are no big blow-ups, no crisis points reached or contrived dramas, just life flowing along as it does. In Ozu's gentle hands, the entire story is told between the lines, with perhaps not a single sentence of direct dialog spoken in the film. Under the calm surface is an ocean of depth, emotions flowing with an unstoppable power, yet never able to breach the veneer of etiquette and politeness. Ozu's usual cast in at their best. Chishu Ryu plays the father perfectly, flawed and kind, strict in his youth yet lenient in his old age, he is a father-figure more than a father to his impatient children. Chieko Higashiyamaplays the kind and appreciative mother, much the same character as in "Early Summer." As always, Setsuko Hara, Japan's "Eternal Virgin," brings light and love into an otherwise dismal story playing Noriko, the widowed Daughter-in-law of Ryu and Higashiyama's son. Setsuko is ironically the only one of their children to appreciate the aged parents, even though she is not a blood-child. "Tokyo Story" forced me to examine my own treatment of my parents, and consider how I will be treated when it is my time to visit my children. Will they dread my coming? Am I kind to my parents? That is the kind of power this film has. Of course, the Criterion Collection presentation is wonderful, with one of the best transfers of "Tokyo Story" I have seen. It is far from flawless, but vastly superior to my old VHS copy. The extra documentaries are delightful, and offer some insight into Ozu that in turn offers insight into his wonderful films.
Rating:
Summary: Are you kind to your parents?
Review: Like many of Ozu's films, "Tokyo Story" ("Tokyo Monogatari") examines a very simple stage in life, one that I hope most of us will be lucky enough to encounter at some time or another. In this case, it is how we treat our parents once we no longer need them for survival. Are they a bother? Do we resent their old-fashioned ways and slower pace? Are we perhaps a bit too eager to shuffle them to the sidelines? The story seems so simple, an elderly couple leaves the country to visit their children who have moved away to Tokyo. Country folk meet city folk, age meets youth, life meets death. There are no big blow-ups, no crisis points reached or contrived dramas, just life flowing along as it does. In Ozu's gentle hands, the entire story is told between the lines, with perhaps not a single sentence of direct dialog spoken in the film. Under the calm surface is an ocean of depth, emotions flowing with an unstoppable power, yet never able to breach the veneer of etiquette and politeness. Ozu's usual cast in at their best. Chishu Ryu plays the father perfectly, flawed and kind, strict in his youth yet lenient in his old age, he is a father-figure more than a father to his impatient children. Chieko Higashiyama plays the kind and appreciative mother, much the same character as in "Early Summer." As always, Setsuko Hara, Japan's "Eternal Virgin," brings light and love into an otherwise dismal story playing Noriko, the widowed Daughter-in-law of Ryu and Higashiyama's son. Setsuko is ironically the only one of their children to appreciate the aged parents, even though she is not a blood-child. "Tokyo Story" forced me to examine my own treatment of my parents, and consider how I will be treated when it is my time to visit my children. Will they dread my coming? Am I kind to my parents? That is the kind of power this film has. Of course, the Criterion Collection presentation is wonderful, with one of the best transfers of "Tokyo Story" I have seen. It is far from flawless, but vastly superior to my old VHS copy. The extra documentaries are delightful, and offer some insight into Ozu that in turn offers insight into his wonderful films.
Rating:
Summary: Honor thy father and thy mother...
Review: Mr. and Mrs. Hirayama pay a visit to their adult children who live in Tokyo. "They must be looking forward to your visit" says a neighbor. In reality family gatherings cause always trouble: Workaday life is upset. Hosts feel obliged to make a fuss. Koichi, their eldest son, a paediatrician, lives in a suburb. He accomodates his parents in the children's room - an annoyance for his teenage son, who is suddenly eager to learn for a school-test. Noriko, the widow of their second son, is genuinely pleased to welcome her in-laws, quite in contrast to Shige, their eldest daughter: This fortysomething hairdresser feels ashamed for her overweignt mother...After dinner (No fish. Sukiyaki will do) they talk about the weather (hot) and old acquaintances. Soon the topics of conversation are exhausted. Shige's husband volunteers to take his in-laws to a variety show, but feels relieved when his wife talks him out of it. Koichi plans to take his parents to a department store, but an emergency gets in his way. His mother understands: " A busy doctor is a good doctor". She wonders if she will live to see her grandsons grow up. So far, the Hirayamas have not seen much of Tokyo. At last Koichi takes them to the public baths and treats them to ice-cream. Shige envies them even expensive cookies. She persuades Noriko to take them on a sightseeing tour. Noriko is glad to oblige and plays the tourist guide. She really likes and respects her in-laws, although her marriage to their son - missing since the war - was not a happy one. In the meantime Shige prompts her brother to club some money together and send them to Atami-Spa, a health resort. Swimming and siesta are much healthier for senior citizens than sightseeing in Tokyo - and less expensive. And so the Hirayamas bathe in hot springs and think their children spent a lot of money. But Atami is better suited for young people. Turbulence, mosquitos, and the house-maids spy on honeymooners...Mrs. Hirayama has a sinking feeling. They decide to go home. Shige is unable to conceal her indignation when her parents turn up again. She disavows them ("friends from the country") but feigns love ("I wanted to take you to the theater"). They don't want to bother Koichi again, Noriko has not enough room..."We've become homeless at last". But Hirayama's little joke sticks in his throat... He calls on some old comrades and discovers that they envy him: "you can be proud of your children". The others have lost their sons in the war or are estranged from them. Those old men do not think highly of the younger generation: "They lack spirit, they lack ambition", but Hirayama understands that "We expect too much of our children". While his wife spends the happiest night of her journey with her sympathetic daughter in law, the pitiable shige has to give shelter to her drunken father and his buddy. Next morning the Hirayamas say goodbye to Tokyo and protest: "You've been very kind to us. We've enjoyed our trip". Soon Koichi, Shige and Noriko receive word from Keizo (Their youngest son who lives in Osaka) that his mother has fallen ill. And so, Mrs. Hirayama dies in the midst of her family - except Keizo, who arrives too late. Shige blames him. Her own conduct is above reproach - she is the only one in mourning...Speechlessness reigns during the obsequies, but the family unbends during the funeral repast. They lodge their claims - Shige wants mother's kimonos - their jobs and a baseball-game are waiting...Kyoko (the youngest daughter who still lives with her father) boils with rage: "They're selfish. Wanting mother's clothes right after her death!" but Noriko soothes her. Mr. Hirayama returns his thanks to Noriko: She should pursue her own happiness. Marry again. He is resigned to his lot. Days fade away slowly for a lonely widower... One has to see how contemporary filmmakers depict the duties of grown-up children to perceive to greatness of TOKYO STORY. DAD (1989) blackmails the audience with its poisonous sentimentality and MA SAISON PREFEREE (1993) demonstrates that the forced avoidance of sentimentality is equally calculating. A Hollywood director would have allocated the climax differently: Mother dies. The children repent. The unloving daughter is punished. But Ozu does not serve a leveled taste. The veracity of his storytelling and the clear-viewed performances make his films so immensely stylish. Simple, but nothing more is needed. This sense of decency leaves the audience not depressed but elevated, exalted. It's nearly an honor to watch Ozu's films.
Rating:
Summary: Perhaps the finest of the classic narrative films
Review: One of the best ways to understand Ozu's TOKYO STORY is to understand how most people come to it. It is long, deals with heavy issues, and is not as reputational as SEVEN SAMURAI. It therefore is rarely recommended with overt, wide-eyed enthusiasm. One therefore starts with SAMURAI, or one of the other alluring oriental films they vaguely recall seeing (or falling asleep during) on the late show. The tendency is not to recall the domesticity-oriented, black-and-white scenes of TOKYO STORY. The tendecy is to recall the more violent (any SAMURAI film), and/or the more colorful (such as GATES OF HELL). One is, also, more inclined to recall the more exotic classic oriental films. Beautiful it is: but TOKYO STORY is of modern-day, not medieval or feudal Japan. These and other reasons perhaps tend to put TOKYO STORY in the dark for many people for a long time. Once discovered, and endured (for it takes a bit of patience to make it through an oriental film as long as L'AVVENTURA), one realises that TOKYO STORY is likely the greatest classic, pre-60s b-&-W narrative film of any of them, western or eastern. One may feel a bit funny about the circuitous route one took, through BELLE ET LA BETE, L'ATALANTE, 'M', DER BLAU ENGEL, OPEN CITY, etc. But that shouldn't bother you. Just sit back and review several times. Living with this film, and absorbing its message, may take a few steady, space-intervalled viewings. ... If you have taste, you will never grow tired of TOKYO STORY. It also seems to have a subtle beauty and charm that grows with each viewing.
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