Tôkyô kazoku



IMDb Rating 7.4 10 1843

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Uploaded By: FREEMAN
May 31, 2021 at 01:50 AM



Satoshi Tsumabuki as Masatsugu
720p.BLU 1080p.BLU
1.31 GB
Japanese 2.0
23.976 fps
2 hr 26 min
P/S 3 / 13
2.7 GB
Japanese 5.1
23.976 fps
2 hr 26 min
P/S 4 / 9

Movie Reviews

Reviewed by francislumd 7 / 10

Interesting color re-make of Ozu's "Tokyo Story"

This film is a 2013 color re-make of Yasujiro Ozu's 1953 "Tokyo Story," that was voted the #1 film by directors in the 2012 Sight and Sound poll. The plot lines and characters are very similar with some distinct differences; even some lines of dialogue are the same or very similar. The biggest difference is that while Noriko in the 1953 film is the daughter-in-law of the elderly couple, whose son was killed in WWII, Noriko in the 2013 film is the future daughter-in-law engaged to the elderly second couple's son (much more developed in this film, not in a flattering way). In addition, the incomparable Setsuko Hara, known as the Japanese Garbo, played Noriko in the 1953 film and brought to the role a transcendent luminosity of compassion and wisdom. Secondly, while Ozu had a distinct cinematographic style of usually having the camera directly in front of the characters while they spoke, we see this much less frequently in the 2013 film. These are just a few of the differences. Overall, it is an interesting re-make, but Ozu's "Tokyo Story" is still one of the greatest films ever made.

Reviewed by JvH48 10 / 10

Family relationships under a microscope when an elderly couple visits their three grown children in big city Tokyo

Saw this at the Berlinale 2013 film festival. It is an "update" on the famous original Tokyo Story (Yasujiro Ozu, 1953), but I learned that only afterwards. I did not see the original before this one, so I cannot compare.

An elderly couple who have lived in a remote village for many years already, bring a visit to their three grown children in the big city of Tokyo. The first half hour shows a lot of chit-chat between family members without really communicating with each other. It may be normal on such an occasion, when family members have no real common topics apart from ancient memories. Yet it leaves on me a depressing view on family relationships. I would not be surprised when this afterthought is deliberate, and as such intended by the film makers.

The older son (doctor) is very occupied with his patients, and the daughter (beauty parlor) is very busy with her daily tasks. And the younger son who is not taken very seriously by the other family members, has decided to live his own life and moved out. Older son and daughter conspire to move the elderly couple from place to place, making their parents feeling lonely and deserted. Later on the parents are even shifted to a hotel, and a lot of arguments pass by why this is only for their own good (we know better than that).

The story becomes interesting when mother and father follow a different route during one night. The mother meets the girl friend of the younger son, and there is an immediate "click". She even entrusts the girl friend with her savings, to use in case of an emergency, rather than giving it to her son, because the mother knows about his impulsive buying pattern. The father drinks too much in a bar, and arrives in the morning in a grumpy state. But (!) he immediately sees that his wife returned in a happy mood from whatever she did that night. What the latter was precisely, he would never know due to her sudden heart failure later that day.

Sitting and waiting in the hospital brings the whole family together physically (but still not mentally), until the dreaded moment that the mother is declared dead. Eventually they all travel to the village where father and mother used to live, to attend the funeral rites. Of course, the older brother and sister cannot wait to return to their duties after the funeral, and only the younger son and his girl friend stay for a few extra days. When they are about to leave, we see a crucial scene when the father and the girl friend have a real talk together. Suddenly, we see the father figure in a very different light, before that time always seeming a father-knows-best figure, but after that scene we stand corrected.

All in all, this microscopic study on family relationships proved very interesting, visualized very well, thereby portraying each family member in his/her own merits. There is no ending to spoil, and there is no real plot either. It is something that should be watched as it passes by on the screen. The actors perform very well in their respective roles, perfectly outlining each ones good and bad features. There are no bad guys in this movie, however, each pulls his weight in the busy ways of living and coping nowadays.

Reviewed by moviexclusive 7 / 10

Showcasing a strong ensemble cast, Yoji Yamada speaks to the modern audience with his homage to the great Tokyo Story

Cinephiles will tell you about the greatness of Tokyo Story, a 1953 Japanese film directed by Yasujiro Ozu. The story about an aging couple who travel to Tokyo to visit their grown children, only to have them being too busy to pay them much attention, is regarded as one of the most poignant tales ever told on screen. And as with every remarkable piece of work, there is a need to introduce it to a wider audience, hence the contemporary filmmakers' decision to produce Tokyo Family, an interpretation which you can either define as a remake, a tribute or an update.

Yoji Yamada (The Twilight Samurai, The Hidden Blade) takes on this story and gives it a relatable angle to today's viewers. The plot is identical to the classic: An old couple from an isolated part of Japan takes the train to Tokyo to spend time with their grown children, not expecting them to be too occupied and indifferent to host them. A tragic death reunites the family in a quiet country town and has them coming to terms with how they have drifted apart because of selfishness.

Made 60 years after the premiere of Tokyo Story and celebrating the 50th anniversary of the respected Ozu's death, this 146 minute film serves as a kind reminder of the importance of family ties. This is especially current in today's society, considering how new media and social expectations have changed how family members interact with each other.

With that said, Yamada's latest work does not seem to offer anything refreshing. That is nothing surprising though, considering how Yamada was an assistant director of the earlier film. The 1954 graduate of Tokyo University painstakingly attempts to replicate the style of the original, from its slow pacing to how important events are revealed in dialogue instead of being shown on screen.

Those who have watched the original (a large group would probably be film students) may find this version uninspiring, and the younger ones may find their patience being tested with the unhurried storytelling. However, do not let this make you feel that this is an unimportant piece of work. There are still pertinent themes which we as children ought to understand in this evergreen tale. There are times you know how things should work, but nothing works better than a screen visualisation to remind you of how things should be.

There is strong acting from the cast here – Isao Hashizume and Kazuko Yoshiyuki shine in their roles as the unassuming parents who travel to bustling Tokyo from their quiet home on a small island, Masahiko Nishimura's unassuming screen presence gets to you as he plays a GP who runs a clinic from his home, Tomoko Nakajima flaunts her chops as a busy beauty parlour manager, while the charismatic Satoshi Tsumabuki takes on the role of the youngest son who is a freelance stagehand. Each member of the ensemble cast plays his or her character without outshining each other, and gives ample room for performance in the film's many key scenes.

While Tokyo Family may not go down film history as a classic, it is still a commendable piece of work worth your time – if you are willing to sit down and appreciate life's slower moments.

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