the disappointment
by Douglas Messerli
Kōgo Noda and Yasujirō Ozu (screenplay), Yasujirō Ozu (director) 東京物語Tōkyō Monogatari (Tokyo Story) / 1953
The elderly couple with whom this
film begins, Shukichi and Tomi Hirayama (Chishu Ryu and Chieko Higashiyama),
certainly do not seem to be expecting too much as they prepare for a journey to
Tokyo to visit their two children and daughter-in-law, catching a glimpse in
Osaka, along the way, of yet another son. Like many old couples, they sit
packing their bags, gently scolding one another and occasionally arguing about
a missing object. A neighbor stops by, wishing them a good trip. Their
children, we are told, have turned out well, particularly in the post-war
period—with one, Koichi (So Yamamura) becoming a pediatrician with two sons,
and a daughter, Shige (Haruko Sugimara) running a hairdressing salon. A second
son in Tokyo has died during the war, leaving his wife, Noriko (Setsuko Hara)
living in poverty; she works as an assistant in a trading company.
The voyage is a long one, a trip the elderly parents have never made,
but they seem in good spirits and look forward to encountering the children in
the big and slightly frightening city.
Even before they arrive at Koichi’s home we sense some tensions; as
Koichi’s wife, Fumiko (Kuniko Miyake), busily cleans up, her elder son, Minoru,
is irritated with her having moved his desk. He needs a place to study, he
insists, to which she scoffs, “you never study.” When the grandparents do
arrive, both the boy and his younger brother almost ignore them, accepting none
of their loving attentions.
The other members of the family gather at Koichi’s and Fumiko’s, each
bringing small gifts (crackers, tea) but the dinner is a simple one. Noriko
arrives from work a bit late, ready to help out in the kitchen, but her offers
are dismissed by Fumiko and Shige, and it is clear that neither of the women is
particularly fond of her.
Indeed, both Shige and Noriko are made to feel, at dinner’s end, that they may have stayed too long, as both hurry home, leaving the older couple, despite their not feeling that tired, to retire to bed. Their bedtime conversation reveals their amazement that their doctor son lives in such an isolated and suburban location. He is clearly not as successful as they had thought him to be.
The next day, Sunday, the entire family is scheduled to take a tour of
downtown Tokyo, but a visit from the father of one of Koichi’s patients,
reporting that his child’s fever remains high, forces Koichi to have to cancel
the trip. His wife, she declares, is also busy and unable to take them around
the city. The children, particularly the elder, are stubbornly angry at their
father’s cancellation of their outing, with Minoru refusing even to take a walk
with his grandmother. It is apparent that part of Minoru’s rude and disobedient
behavior has to do with father’s continued absences. This is quite obviously
not the only outing that has been terminated.
Unlike the blood relatives of Shukichi and Tomi, Noriko is absolutely
pleased to be able to tour the couple, ending the day in her simple, one-room
apartment, where she serves up a full meal along with borrowed sake. Clearly
she cares for the couple, who are also pleased for the existence of a displayed
photograph of their long-dead son.
Koichi and Shige, meanwhile, conspire to send the parents out of town,
the two sharing the costs in order that their parents may stay at a hot spring
spa at Atami, while they go on with their daily lives. Despite the parents’
hopes to spend time with their family in Tokyo, they are suddenly being sent
away to live in isolation just as they have since their family has grown up.
If until this moment, Tokyo Story
has been an extremely polite, even conventional satire of shifting family
relationships, it now becomes a tale of disappointment and pained resignation
that the children they have raised have grown up without qualities with which
they had hoped to have instilled in them. While many Japanese works play out
generational conflicts—most of them are centered on values of the past as
opposed to the present—Ozu’s work brilliantly escapes such simple dichotomies,
making it clear that it is not just generational changes at work here, but
failures in personality. Shige, shocked by the couple’s return, scolds them for
not staying at the spa, lying even (although Ozu, once again, goes out of his
way not to not confirm the obvious) in telling them that she is hosting a
gathering of beauticians in her house and has no longer any room for them.
Like proud vagabonds, now suddenly homeless, Tomi determines to stay the
night with the loving Noriko, while Shukichi visits the home of an old friend
from his hometown, hoping to be invited in for the night. His friends would
gladly have him, but rent out their spare room. His friend Hattori (Hisao
Toake), meeting up with another old friend, invites Shukichi to a local bar,
where the three proceed to get terribly drunk. In that drunken state, Hattori
berates his son, while the other mourns his children’s death in war; and for a
few moments, Shukichi seems in agreement with them before turning on the other
two to declare that perhaps they are all “expecting too much,” that life in the
giant city is economically difficult and allows the citizens little time for
anything or anyone else. The police ultimately return Shukichi back to Shige’s
house. Her anger far out-weighs any concern for her father’s condition or
health.
So does the couple return home. But the rest of the family soon hears
that at Osaka, meeting their son Keizo (Shiro Osaka), Tomi has become sick and
has had to spend a couple of days there before proceeding home. Soon after,
Koichi and Shige receive telegrams reporting that their mother is seriously
ill, and they begrudgingly prepare to travel to the home where they have never
returned. When called, Noriko joins the trek to her husband’s childhood home.
Tomi dies within the night, cared for by Kyoko—the couple’s unmarried,
school-teacher daughter who has remained in the small house to care for
them—and by Noriko. Keizo arrives too late. At the dinner after the funeral
ceremony, Shige demands from Kyoko one of her mother’s kimonos, as she, Koichi,
and Keizo all plan their hurried returns to Toyko and Osaka. Only Noriko
remains for a few days, caring, once more, for her father-in-law and helping
Kyoko. While the parents have said very little in open condemnation of the
selfish children, the quiet Kyoko, once they have left, speaks out to Noriko of
their despicable behavior. Noriko responds far too kindly, insisting that
everyone has their own life to lead, resulting predictably to a separation
between parents and their children. But again, her own selflessness reveals the
lie to her niceties; and when Kyoko, who has spoken hardly any words in the
entire film declares life to be “disappointing,” even the gentle Noriko can
only agree.
Recognizing Noriko’s kindnesses to both him and his wife, the now
widowed Shukichi encourages his daughter-in-law, as Tomi has formerly done, to
forget his son and remarry. In appreciation for her love, he awards her Tomi’s
old-fashioned watch, a gift which links her to the elderly couple’s past while
simultaneously freeing her for a new future, permitting her to move forward in
time.
As critics have noted, however, even here Ozu does not simplify his
narrative as he might have if he ended merely with Noriko traveling back to
Tokyo to face her own future; instead, he pulls his camera back into the bay
outside Shukichi’s window where we see a ferry, as in the very first scene,
shuttling back and forth. His life will be a lonely one, as he tells his nosey
neighbor, “Living alone like this, the days will get very long.” But Ozu
demonstrates, as well, that life will go on; things predictably continue.
What began as a subtle satire on generational changes, accordingly,
ends, in Ozu’s stunning vision, with a statement of both tragic resignation
(for Shukichi) and transformative resilience (for Noriko and Kyoko). The others
are now free to lead their very ordinary lives.
My synopsis, however, can’t even begin to convey just how moving and
profound this great film truly is. In the years since first seeing it, Tokyo
Story has become one of my very favorite films.
Los Angeles, January 10, 2013
Reprinted from World Cinema Review (January 2013).
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