Yasujiro Ozu, “Tokyo Story / Tokyo monogatari” (1953)
Under the precise and careful direction of Yasujiro Ozu, this family soap opera becomes a character study of Tokyo and Japan during post-war reconstruction in the wake of the devastation and poverty left behind by World War II, and the impact that reconstruction had on social and cultural values at both the individual and the immediate collective (family) level. An elderly couple travel from their home in a rural fishing village to Tokyo to visit their children and their families. The couple (Chishu Ryu and Chieko Higashiyama) are perturbed to be met with a range of quite negative emotions and reactions from exasperation, indifference, rudeness and selfish cruelty from their GP doctor son’s family and their daughter, a businesswoman running a hair salon. The couple are shunted from one family to another and at one point during their visit are dumped in a holiday spa where guests have all-night parties that disturb the older folks’ sleep. The only person who is glad to see them and who helps them become accustomed to the fast and glitzy pace of Tokyo is their widowed daughter-in-law Noriko (Setsuko Hara). The grandparents decide to go home through Osaka where they plan to meet their youngest son but the grandmother’s health begins to fail rapidly and the couple narrowly arrive back home before the woman falls into a fatal coma.
The plot is not remarkable but what holds the story together is the dialogue which does all the work of advancing the plot, portraying character and underlining the process of change and the inevitability of death. Through the interactions of three generations of the one family, Ozu examines the effects of Westernisation and technological and economic changes and progress have on Japanese culture and traditions. Respect for the elderly and a sense of mutual obligation and help are disappearing, to be replaced by the pursuit of self-interest and immediate material gratification. The couple’s sons put work ahead of their own needs and those of their families. Daughter Shige (Haruko Sugimura) thinks only of herself, her business and pursuing wealth. Interestingly though, the children and their families have not achieved the success they had hoped for – the doctor and his family live in a suburb of Tokyo, not in the centre of the city as the grandparents expected – and there is a sense of disappointment among the children that they have not done as well as they had hoped for.
Ozu’s technique of filming scenes at the level at which people sit on tatami mats in houses or on verandahs imparts an almost voyeuristic intimacy to the drama and helps to bring out the underlying tensions in the film as the grandparents come to realise that their children might consider them a burden. The grandparents also get no relief in trying to connect with their grandchildren who angrily spurn them; in one significant scene, the grandmother muses about her younger grandson and what he might become as an adult, as the child ignores her completely. This scene takes on added sadness as events in the film roll out to the grandmother’s disadvantage. Important events tend to happen off-screen to the extent that the only time we become aware of most things is when actors talk and discuss these occurrences. This has the effect of not only pushing the narrative on but also revealing the character and morality of the people discussing the issues.
The climactic moment comes after the grandmother’s funeral when Noriko and her young sister-in-law nearly come to blows over the behaviour of the older children at their mother’s funeral and wake. Noriko persuades her sister to accept that the children have their own lives to lead and that the separation of older parents and adult children is inevitable; while this explanation appears to calm down the younger woman, Noriko’s own life as a lonely widow dedicating herself to caring for her parents-in-law would appear to suggest that Noriko might not necessarily believe in what she says. Noriko’s obliging manner and constant smile mask a very real pain born from a life of suffering under her alcoholic husband and perhaps a family background in which daughters were brought up to be strictly subservient to husbands, no matter how well or how badly the husbands treated them.
The film appropriately ends on a dark note when the grandfather, left all alone by his children and daughter-in-law who must resume their normal working lives, must ponder living alone without his beloved wife. Hints in earlier parts of the film suggest he will turn to drink again to soothe his sorrows. What this seems to imply is that the changes and progress coming to Japan might not be all shiny and good for the Japanese people: the changes are likely to lead to isolation, loneliness and dependency on drugs like alcohol for millions of Japanese just to get through the day. While everyone accepts change and that nothing will last forever, at the same time no-one seems to think that with rapid change, opportunities to improve people’s lives will appear and should be seized upon. To allow an elderly man to live on his own with only drink for company is certainly cruel and would not have been tolerated in Japan before the war.
Slow and leisurely as it is, and though the characters tend to be stereotypical, the film certainly bears watching a few times for Ozu’s messages about change, the inevitability of death and the fragility of life to be absorbed, and for landscape scenes of a past Japan that themselves illustrate rapid technological, economic and social change.