Tokyo Story (1953) 1080p YIFY Movie

Tokyo Story (1953) 1080p

T?ky? monogatari is a movie starring Chish? Ry?, Chieko Higashiyama, and S? Yamamura. An old couple visit their children and grandchildren in the city; but the children have little time for them.

IMDB: 8.21 Likes

  • Genre: Drama |
  • Quality: 1080p
  • Size: 2.14G
  • Resolution: 1920*1080 / 23.976 fpsfps
  • Language: English
  • Run Time: 134
  • IMDB Rating: 8.2/10 
  • MPR: Normal
  • Peers/Seeds: 0 / 0

The Synopsis for Tokyo Story (1953) 1080p

Elderly couple Shukishi and Tomi Hirayama live in the small coastal village of Onomichi, Japan with their youngest daughter, schoolteacher Kyoko Hirayama. Their other three surviving adult children, who they have not seen in quite some time, live either in Tokyo or Osaka. As such, Shukishi and Tomi make the unilateral decision to have an extended visit in Tokyo with their children, pediatrician Koichi Hirayama and beautician Shige Kaneko, and their respective families (which includes two grandchildren). In transit, they make an unexpected stop in Osaka and stay with their other son, Keiso Hirayama. All of their children treat the visit more as an obligation than a want, each trying to figure out what to do with their parents while they continue on with their own daily lives. At one point, they even decide to ship their parents off to an inexpensive resort at Atami Hot Springs rather than spend time with them. The only offspring who makes a concerted effort on this trip is Noriko ...

The Director and Players for Tokyo Story (1953) 1080p

[Director]Yasujir? Ozu
[Role:]S? Yamamura
[Role:]Chieko Higashiyama
[Role:]Chish? Ry?
[Role:]Setsuko Hara

The Reviews for Tokyo Story (1953) 1080p

A cinema of tearsReviewed byGyatsoLaVote: 7/10

I can vividly remember the first time i saw this movie - it was during a festival of Japanese movies in an art house cinema here in Dublin. I must admit to never having heard of Ozu before, i went out of boredom and casual curiosity. I was embarrassed at the end to find myself in tears. I quickly wiped them away in that subtle way guys do when they don't want anyone to know, and got out to leave. What struck me was that even as the credits were finishing, I was one of the first to go. As i walked up the aisle I realized that most of the nearly full cinema was still sitting quietly, without the usual post movie chatter - and more than half of the audience had tears pouring down their faces. I have never, ever witnessed that in a cinema.

Since then, i've watched it on DVD, and had to think a lot about why such a simple movie is so powerful, and so many people rate it as one of the greatest ever. And why i find myself agreeing with that rating, i truly think it is in the top 10 ever made - certainly the top 5 of any I've seen. But its hard at first to know why. It doesn't have the greatest script of any movie, there are few things in it that are truly original. The acting is great, but not the greatest ever seen, and the technical qualities are just average. I've come to the conclusion that the reason for its greatness is that it comes closest to pure art in cinema. By pure art, i mean art that in its simplicity but technical genius still reveals deep truths about our lives. When i think about Tokyo Story I don't find myself comparing it to other movies, instead I think of a Rembrandt self portrait, a Vermeer painting, or my favourite short story, 'The Dead' by James Joyce. It is simple, unadorned, and deeply wise. I realise in writing this I'm rapidly approaching pseuds corner, but this is my genuine conclusion (writing as someone who is shamefully uneducated in most of the arts).

Of course there have been many great movies about families, about growing old, about the nature of life.... but I think somehow Ozu achieved a sort of perfection with Tokyo Story. Thats why its the only movie I would give a '10' to.

Ozu's Quietly Brilliant Masterpiece Deserves Your AttentionReviewed byEUyeshimaVote: 10/10

I think this movie is amazing for reasons I was not expecting. I had heard of Yasujiro Ozu's "Tokyo Story" for several years but never had an opportunity to see it until Criterion resuscitated it as part of their DVD collection. Over fifty years old, this wondrous 1953 film resonates just as deeply today. Those outside Japan rarely get to see a Japanese film classic that doesn't involve samurai warriors in medieval battles. This one, however, is a subtly observed family drama set in post-WWII Japan, and it is the quietude and lack of pretense of Ozu's film-making style that makes this among the most moving of films.

The plot centers on Shukishi and Tomi, an elderly couple, who traverse the country from their southern fishing village of Onomichi to visit their adult children, daughter Shige and son Koichi, in Tokyo. Leading their own busy lives, the children realize their obligation to entertain them and pack them off to Atami, a nearby resort targeted to weekend revelers. Returning to Tokyo unexpectedly, Tomi visits their kindly daughter-in-law, Noriko, the widow of second son Shoji, while Shukishi gets drunk with some old companions. The old couple realizes they have become a burden to their children and decide to return to Onomichi. They also have a younger daughter Kyoko, a schoolteacher who lives with them, and younger son Keizo works for the train company in Osaka. By now the children, except for Kyoko and the dutiful Noriko, have given up on their parents, even when Tomi takes ill in Osaka on the way back home. From this seemingly convoluted, trivial-sounding storyline, fraught with soap opera possibilities, Ozu has fashioned a heartfelt and ultimately ironic film that focuses on the details in people's lives rather than a single dramatic situation.

What fascinates me about Ozu's idiosyncratic style is how he relies on insinuation to carry his story forward. In fact, some of the more critical events happen off-camera because Ozu's simple, penetrating observations of these characters' lives remain powerfully insightful without being contrived. Ozu scholar David Desser, who provides insightful commentary on the alternate audio track, explains this concept as "narrative ellipses", Ozu's singularly effective means of providing emotional continuity to a story without providing all the predictable detail in between. Ozu also positions his camera low throughout his film to replicate the perspective of someone sitting on a tatami mat. It adds significantly to the humanity he evokes. There are no melodramatic confrontations among the characters, no masochistic showboating, and the dialogue is deceptively casual, as even the most off-hand remark bears weight into the story. The film condemns no one and its sense of inevitability carries with it only certain resigned sadness. What amazes me most is how the ending is so cathartic because the characters feel so real to me, not because there are manipulative plot developments, even death, which force me to feel for them.

I just love the performances, as they have a neo-realism that makes them all the more affecting. Chishu Ryu and Chieko Higashiyama are wonderfully authentic as Shukishi and Tomi, perfectly conveying the resignation they feel about their lives and their children without slipping into cheap sentimentality. Higashiyama effortlessly displays the sunny demeanor of a grandmother, so when sadness does take over in her life, it becomes all the more haunting. In particular, she has a beautiful scene where Tomi looks forlornly at her grandchild wondering what he will be when he grows up and whether she will live to see what happens. Even more heartbreaking is the scene where Shukishi and Tomi sit in Ueno Park realizing their children have no time for them and are resigned to the fact that they need to find a place to sleep for the night. The closest the film has to a villain is Shige, portrayed fearlessly by Haruko Sugimura, who is able to show respect, pettiness and conniving in a realistically mercurial fashion. Watch her as she complains about the expensive cakes her husband bought for her parents (as she selfishly eats them herself) or how she finagles Koichi to co-finance the trip to Atami or how she shows her frustration when her parents come home early from the spa. So Yamamura (familiar to later Western audiences as Admiral Yamamoto in "Tora! Tora! Tora!") displays the right amount of indifference as Koichi, and Kyoko Kagawa has a few sharp lines toward the end of the film as the disappointed Kyoko.

But the best performance comes from the legendary Setsuko Hara, a luminous actress whose beauty and sensitivity remind me of Olivia de Havilland during the same era. As Noriko, she is breathtaking in showing her character's modesty, her unforced generosity in spite of her downscale status and her constant smile as a mask for her pain. She has a number of deeply affecting moments, for instance, when Noriko explains to Shukishi and Tomi how she misses her husband, even though it is implied he was a brutalizing alcoholic; or the touching goodbye to Kyoko; or her pained embarrassment over the high esteem that Shukishi holds for her kindness. Don't expect fireworks or any shocking moments, just a powerfully emotional film in spite of its seemingly modest approach. The two-disc DVD set has the commentary from Desser on the first disc, as well as the trailer. On the second disc, there are two excellent documentaries. One is a comprehensive 1983, two-hour feature focused on Ozu's life and career, and the second is a 40-minute tribute from several international movie directors.

Somehow Not The Best Film Of All-Time One Is Often Led To BelieveReviewed bySlime-3Vote: 5/10

Labelling something 'the best ever' or even a more moderated 'one of the best...' is surely asking for trouble? But in the case of TOKYO STORY it would be difficult to imagine the film causing any kind of trouble at all as this very measured, courteous movie is such an inoffensive and charming offering. However it's not, in my view, anything remotely like 'the best ever'. It's a nice little film, in it's way, but I do wonder why on earth it has developed such a huge reputation? It's sad, it's endearing, it's sometimes rather beautiful and it's melancholic almost throughout, but it's also very predictable;nothing remotely unexpected happens, one can see things being flagged up well in advance. It's very slow and made in a very tightly confined way which hasn't really influenced subsequent movies half as much as some people would like to think.So what makes it considered "one of the best"?

It's not the story which is spare and not very entertaining in itself,although the character development is good. We do get to know the people involved even if many a motive seems to remain mysterious at the end. It's not the camera work which is rigidly static, creating the impression of interlinked paintings through which the protagonists wander, rather carefully. The familiar Ozu stylisations; the low set camera, the unfamiliar looks almost straight-to-camera when speaking, make it a slightly unsettling film to watch initially, although one soon becomes used to them. Perhaps it's the location work, which is appealing,in a reserved and understated way? Japan in the mid 50s seems far more exotic and unfamiliar than it would today , but that's true of almost any developed country. Twenty first century England no longer resembles the country depicted in Ealing Comedies of the same era. And the acting is a conundrum. Cultural differences in speech patterns and body language make it hard to compare what we see here with what we are familiar with in the western world. Certainly the father-figure seems to move and speak in such a painfully slow and deliberate way (except when drunk!) that one really begins to wonder how naturalistic his acting is. Are we seeing something comparable to Brando's 'method' or to Olivier's Shakespearian style? I think one needs to be very familiar with Japanese language and culture to fully understand and appreciate that aspect. He's a nice old boy but he might well be a terrible actor.

It's certainly not the music that makes this film special as it's neither evocative nor memorable, so I'm at a loss. CITIZEN KANE, which often shares this most elevated of critical pedestals with TOKYO STORY, clearly has cast a much

longer shadow over the development of cinema and while it's chock-full of innovative moments and methods TOKYO STORY seems rather a stylistic cul- de-sac from which one can find very little in subsequent movies. It's not a bad movie, but it is one which I'd fine it hard to sit through a second time.

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