TOKYO STORY – film group responses

The film group ‘gut’ responses to Tokyo Story. The general discussion brought out many more subjects and comments. The overall impression was that the film was very relevant to our times.

  • Sadness on the part of the father- just realising what he has lost. Anger with shige
  • and her husband for their ‘carlessness’ of their parents and their offishness.   Noriko is kind to her in-laws and probably did not have a happy marriage. The harshness of the New Tokyo. The opposites of the timescales of the lives of parents and children.
  • Utterly beautiful . So true and universal. Moving and tough -provoking. Unforgettable.
  • The often disconnections of family. Excellent black and white photography.
  • Perfect depitcion of the intricacies of family relationships. Touch of King Lear about it in that the daughter -in-law was the nicest of the children.
  • tradition and modern dress. Figures placed deliberately hierarcally.
  • Lyrical film with great expression of deep emotions both positive and negative, mainly conveyed by facial and body language. The film depitcts real intimacy between Noriko (the daughter-in-law wife of the dead son) and the mother, very tender poignant scenes. The hand of the auteur can’t be missed in the long shots , the sudden insertionf of industrial scnes. The music is western but totally appropriate.
  • Very moving and philosophical on old age, children’s lives and work taking them far away to Tokyo, leaving little time or space (work/own children) for caring for their children. Loneliness all bearable when the older couple had each other.
  • Shows selfishness opposed to duty. Sadly the need for the parents to thank their children for taking care of them.
  • Sad reflection on post industrial societies. The attenuation of family ties. The need to move to the cities for work and the perception that there  no time for the older generation is a sorry thought.


About rinaross

Born in 1935. MA in Film and Television Studies at the University of Westminster 1998. Studying the representation of older women in film since then.
This entry was posted in Ageing, FILM RECEPTION. Bookmark the permalink.

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