Todake no kyodai (1941)

Calificación de los usuarios:

7.9/10   

Director:

Yasujiro Ozu

Escritores:

Tadao Ikeda (writer)
Yasujiro Ozu (writer)

Fecha de Lanzamiento:

11 mayo 1982 (USA)

Premios:

1 win

Comentarios de los usuarios:

Ozu's wartime solution to family dysfunction: let's all go to China!

Reparto

Mieko Takamine	...	Setsuko
Shin Saburi	...	Shojiro
Hideo Fujino	...	Shintaro Toda
Ayako Katsuragi	...	Mrs. Toda
Mitsuko Yoshikawa	...	Chizuru
Masao Hayama	...	Ryokichi
Tatsuo Saito	...	Shinichiro
Kuniko Miyake	...	Kazuko
Yoshiko Tsubouchi	...	Ayako
Kayoko Kuwano	...	Tokiko
Chishu Ryu	...	Friend
listado alfabético del resto del reparto:
Chouko Iida	...	Kiyo
Shohichi Kawamura	...	Suzuki
Takeshi Sakamoto	...	Antique Dealer
Mayuko Takagi	...	Mitsuko
Reiko Tani	...	Photographer

También conocida como:

The Brothers and Sisters of the Toda Family
The Toda Brothers and Sisters

Duración:

105 min

País:

Japan

Idioma:

Japonés

Color:

Negro y Blanco

Relación de Aspecto:

1.37 : 1

Sonido:

Mono

Locaciones de Filmación:

Shochiku-Ofuna, Ofuna, Kanagawa, Japan

Compañía:

Shochiku Kinema Kenkyû-jo

Conexiones de Película:

Referenced in Ikite wa mita keredo - Ozu Yasujirô den (1983)

Ozu's wartime solution to family dysfunction: let's all go to China!

Ozu enters William Wyler terrain with a somber upscale family drama about a mother and daughter who are shuttled in unwelcome fashion from one family member's home to another following the death of the family patriarch. The thematic elements of displacement within a family unit anticipate TOKYO STORY -- there's even a bedtime scene between the mother and daughter that echoes one in the later film. There's a startling lack of music in this film, esp. during Ozu's normally music-filled transitional shots, that contribute to an overall sense of tense unease that touches on what might have been the general wartime state of mind among Japanese at that time. The war makes a subtle appearance in the form of the youngest son who offers to take the unwanted family members with him to settle in China -- a moment which might be aligned with Imperialist propaganda, though in a fascinating way: the Chinese "frontier" seems presented as a place where Japanese society can escape its social hypocrisies and begin anew.