A Story of Floating Weeds / Ukikusa Monogatari (1934, Yasujiro Ozu)
Opening scenes – Ukikusa / Floating Weeds (Yasujirō Ozu, 1959)
https://www.youtube.com/watch?v=9K3ezfaW9Zc
Yasujirō Ozu’s black-and-white silent drama film ‘A Story of Floating Weeds’ (1934) is considered one of the greatest films ever made, along withFloating Weeds (Japanese: 浮草, Hepburn: Ukigusa) a 1959 Japanese colour film directed by Ozu, starring Nakamura Ganjirō II and Machiko Kyō. it is
Plot
During the summer of 1958 at a seaside town on the Inland Sea, a travelling theatre troupe arrives by ship, headed by the troupe’s lead actor and owner, Komajuro. While the rest of the troupe goes around the town to publicize their appearance, Komajuro visits his former mistress, Oyoshi, who runs a small eatery in the town. They have a grown-up son, Kiyoshi, who works at the post office as a mail clerk and is saving up to study at the university. However, he doesn’t know who Komajuro is, having been told he is his uncle. Komajuro invites Kiyoshi to go fishing at sea.
When Sumiko, the lead actress of the troupe and Komajuro’s present girlfriend, learns that Komajuro is visiting his former mistress, she becomes jealous and visits Oyoshi’s eatery. Komajuro chases her away quickly and confronts her. He tells her to back off from his son and decides to break up with her. Sumiko calls Komajuro an ingrate and reminds him of the times she has helped him out in the past.
One day, Sumiko offers Kayo, a young actress from the same troupe, some money and asks her to seduce Kiyoshi. Although Kayo is initially reluctant, she agrees after Sumiko’s insistence without being told why. However, after knowing Kiyoshi for some time, she falls for him and decides to tell Kiyoshi the truth about how their relationship started. Kiyoshi is undaunted and says it does not matter to him, and eventually their relationship is discovered by Komajuro.
Komajuro confronts Kayo, who tells him of Sumiko’s setup, but only after asserting she now loves Kiyoshi and is not doing it for money. Komajuro attacks Sumiko and tells her to disappear from his sight. She pleads for reconciliation but he is indignant.
Meanwhile, the troupe’s old-fashioned kabuki-style performances fail to attract the town’s residents; the other actors pursue their own romantic diversions at local businesses, including a brothel and a barber shop. Eventually, the manager of the troupe abandons them and a principal supporting player absconds with the remaining funds. Komajuro has no choice but to disband the troupe, and they meet for a melancholy last night together. Komajuro then goes to Oyoshi’s place and tells her of the break-up. Oyoshi persuades him to tell Kiyoshi the truth about his parenthood and then stay together with them at her place as a family. Komajuro agrees.
When Kiyoshi returns with Kayo, Komajuro becomes so enraged that he beats both of them repeatedly, leading to a tussle between Kiyoshi and him. To stifle the brawl, Oyoshi reveals to him the truth about Komajuro. Kiyoshi first responds that he had suspected it all along, but then refuses to accept Komajuro as his father, saying he has coped well without one so far and goes upstairs. Taking in Kiyoshi’s reaction, Komajuro decides to leave after all. Kayo wants to join Komajuro to help him achieve success for the family, but a chastened Komajuro asks her to stay to help make Kiyoshi a fine man, as Komajuro’s always hoped. Kiyoshi later has a change of heart and goes downstairs to look for Komajuro, but his father has already left, and Oyoshi tells Kiyoshi to let him go.
At the train station in town, Komajuro tries to light a cigarette but has no matches. Sumiko, who is sitting nearby, offers him a light. She asks where he is going and asks to accompany him since she now has no place to go. They reconcile and Sumiko decides to join Komajuro to start anew under another impresario at Kuwana.
Early Summer (麦秋, Bakushū, Literally “Barley Harvest Time”) is a 1951 Japanese drama by Yasujirō Ozu. Like most of Ozu’s post-war films, Early Summer deals with issues ranging from communication problems between generations to the rising role of women in post-war Japan. The plot concerns Noriko, who lives contentedly in an extended family household that includes her parents and her brother’s family, but an uncle’s visit prompts the family to find her a husband.
Noriko, a secretary in Tokyo, lives in Kamakura, Kanagawa with her extended Mamiya family, which includes her parents Shūkichi and Shige, her older brother Kōichi, a physician, his wife Fumiko, and their two young sons Minoru and Isamu.
An elderly uncle arrives and reminds everyone that Noriko, who is 28, should marry. At work, Noriko’s boss Satake recommends a match for her with a forty-year-old friend of his, Mr. Manabe, a businessman and golfer. Noriko’s friends are divided into two groups —- the married and the unmarried—who tease one another endlessly, with Aya Tamura being her close ally in the unmarried group. Noriko’s family gently pressures Noriko into accepting the match proposed by Satake, agreeing that it is time for her to marry and believing that the match proposed is a good one for someone her age.
Childhood friend Kenkichi Yabe, a doctor, widower, and father to a young daughter, arranges to have tea with Noriko and gives her a sheaf of wheat. The sheaf is a gift from a brother who was killed during World War II and who had asked Yabe to deliver it to Noriko in case he did not return. Later, Yabe is posted to Akita, in northern Honshu. Akita is considered so rural that Noriko and Aya make fun of the area’s accent. However, when Yabe’s mother Tami impulsively asks Noriko to marry Yabe and follow them in their northward resettlement, Noriko agrees. When Noriko reveals her decision, her family is quietly devastated. They hint to her that the match is a poor one. When Noriko persists, the family is forced to live with their disappointment.
The family gradually accepts Noriko’s choice with quiet resignation, and before she moves on, the family takes a photograph together. Noriko’s parents console themselves that Noriko and Kenkichi will move back to Tokyo in a few years’ time, reuniting the family. Meanwhile, the parents move to a rural region to stay with Noriko’s elderly uncle. In the final scene, Noriko’s parents watch a bride pass down the country road in her traditional costume. The final shot is of a barley field ripening around.
Yasujiro Ozu – Tokyo Story – 1953 – Classic Japanese Movie
https://www.youtube.com/watch?v=1RV-bnqQdPw
Early Summer (麦秋, Bakushū, Literally “Barley Harvest Time”) is a 1951 Japanese drama by Yasujirō Ozu. Like most of Ozu’s post-war films, Early Summer deals with issues ranging from communication problems between generations to the rising role of women in post-war Japan. The plot concerns Noriko, who lives contentedly in an extended family household that includes her parents and her brother’s family, but an uncle’s visit prompts the family to find her a husband.