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

The excuses we make to justify our neglect of othersReviewed byKFLVote: 9/10

An appreciation of this movie may demand some understanding of Japanese culture. The Japanese are rather reserved, and were even more reserved back in the early 1950's, when this film is set. No embracing, even of parents, children, siblings; no dramatic histrionics; even a death scene in this movie is much quieter than a Westerner might expect.

Consequently I can't really blame several reviewers here for calling this movie boring and slow-paced. But it is not at all slow-paced from a different cultural perspective. It just depends on what you're used to.

If you do take the time to watch and try to understand it, you'll find an engrossing analysis of the dynamic of a middle-class family, the rift that grows up between generations, and of the many excuses we find ourselves making to justify our neglect for others, even those dearest to us. These themes are universal, but are couched in a postwar Japanese idiom, and so probably less accessible to the average Western viewer.

I have wondered awhile about a speech at the end by Noriko, the widowed daughter-in-law, in which she denies that she's such a good person (though her actions in the movie indicate otherwise). I'm still not sure I understand her motives in saying this. For the most part, however, this movie will not leave you puzzled, but it may leave you a bit wiser, and a bit more reluctant to make those excuses.

SlowwwReviewed bymel_protossVote: 5/10

Disclaimer: my ratings are purely personal and is only indicative on my subjective enjoyment of the film. (Even then, or perhaps even more so, I know I'm gonna be bashed for this.)

Even if this 1953 greatly-hailed-classic was not black & white, I would have found it too slow to be enjoyable.

The story is simple. An aged couple visits their children in Tokyo, and then heads home. Through the narrative, the film contrasts the filial impiety of the couple's biological children with the compassion of the couple's non-blood-related, widowed daughter-in-law.

Critics rave about the cinematography. I know nuts about these things so I shall reveal my ignorance no more.

What was perhaps a bit more accessible was the layered richness of the film's portrayal of Japanese culture, which is often non-verbal, indirect and subtle. (The emphasis here is a bit; I would have been lost without the readings to analyze the film's non-explicit elements because of the high-context nature of the Japanese society.) Suffice to say that the film was only bearable because of the readings, which I did concurrently while watching the film; they explained the film's richness that gave it its 99/100 IMDb critic review.

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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