Tôkyô monogatari (1953)

Calificación de los usuarios:

8.0/10   

Director:

Yasujiro Ozu

Escritores:

Kôgo Noda (writer)
Yasujiro Ozu (writer)

Fecha de Lanzamiento:

13 marzo 1972 (USA)

Género:

Drama

Plot:

An old couple visit their children and grandchildren in the city; but the children have little time for them.

Plot Keywords:

Selfishness | Tokyo Japan | Parent Child Relationship | Death | Watch

Premios:

2 wins

Comentarios de los usuarios:

Considered Ozu's masterpiece

Reparto

Chishu Ryu	...	Shukishi Hirayama
Chieko Higashiyama	...	Tomi Hirayama
Setsuko Hara	...	Noriko Hirayama
Haruko Sugimura	...	Shige Kaneko
Sô Yamamura	...	Koichi Hirayama
Kuniko Miyake	...	Fumiko Hirayama - his wife
Kyôko Kagawa	...	Kyoko Hirayama
Eijirô Tôno	...	Sanpei Numata
Nobuo Nakamura	...	Kurazo Kaneko
Shirô Osaka	...	Keiso Hirayama
Hisao Toake	...	Osamu Hattori
Teruko Nagaoka	...	Yone Hattori
Mutsuko Sakura	...	Patron of the Oden Restaurant
Toyo Takahashi	...	Shukichi Hirayama's Neighbor (as Toyoko Takahashi)
Toru Abe	...	Train employee

También conocida como:

Tokyo Story (USA)
Los cuentos de Tokyo (Spain) [es]
Viaje a Tokyo (Spain) [es]

Duración:

136 min

País:

Japan

Idioma:

Japonés

Color:

Negro y Blanco

Relación de Aspecto:

1.37 : 1

Sonido:

Mono

Clasificación:

Brazil:18 | Hong Kong:I | Sweden:Btl | Portugal:M/12 | Finland:S | UK:U | Spain:T | Singapore:PG

Locaciones de Filmación:

Atami, Shizuoka, Japan

Compañía:

Shochiku Kinema Kenkyû-jo

Trivialidades:

The original negative was lost soon after the film was completed, due to a fire at the vault of the lab in Yokohama city. The film had to be released using prints made from a dupe protective negative.

Errores:

Errores que Revelan: The "dead" mother is visibly breathing.

Citas:

Kyoko: Isn't life disappointing?
Noriko: [smiles] Yes, it is.

Conexiones de Película:

Referenced in Shijie (2004)

Considered Ozu's masterpiece

"Tokyo Story" is considered Ozu's masterpiece; it continues to be one of the most widely admired of Ozu's films, and one of the most immediately accessible. The theme of the disintegration of a family as a microcosm of societal changes is one which is universal: this is the theme of Ford's "How Green Was My Valley", of Welles's "The Magnificent Ambersons", of Satyajit Ray's "The Music Room", but Ozu is able to tell his story without the usual paraphernalia of melodrama. The story unfolds in an almost lifelike fashion, and we in the audience feel as if we are eavesdropping on this family. Gradually, small details and little incidents build, until such scenes as the widowed daughter-in-law's confession of loneliness create an overwhelming empathy.