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El coro de Tokio

Título original: Tôkyô no kôrasu
  • 1931
  • 1h 30min
CALIFICACIÓN DE IMDb
7.1/10
1.7 k
TU CALIFICACIÓN
El coro de Tokio (1931)
ComedyDrama

En Tokio, un hombre casado enfrenta el desempleo tras defender a un compañero de trabajo mayor.En Tokio, un hombre casado enfrenta el desempleo tras defender a un compañero de trabajo mayor.En Tokio, un hombre casado enfrenta el desempleo tras defender a un compañero de trabajo mayor.

  • Dirección
    • Yasujirô Ozu
  • Guionistas
    • Komatsu Kitamura
    • Kôgo Noda
  • Elenco
    • Tokihiko Okada
    • Emiko Yagumo
    • Hideo Sugawara
  • Ver la información de producción en IMDbPro
  • CALIFICACIÓN DE IMDb
    7.1/10
    1.7 k
    TU CALIFICACIÓN
    • Dirección
      • Yasujirô Ozu
    • Guionistas
      • Komatsu Kitamura
      • Kôgo Noda
    • Elenco
      • Tokihiko Okada
      • Emiko Yagumo
      • Hideo Sugawara
    • 16Opiniones de los usuarios
    • 25Opiniones de los críticos
  • Ver la información de producción en IMDbPro
  • Ver la información de producción en IMDbPro
  • Fotos17

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    Elenco principal13

    Editar
    Tokihiko Okada
    • Shinji Okajima
    Emiko Yagumo
    • Tsuma Sugako (His Wife)
    Hideo Sugawara
    • Sono Chounan (First Son)
    Hideko Takamine
    Hideko Takamine
    • Sono Choujo (First Daughter)
    Tatsuo Saitô
    Tatsuo Saitô
    • Omura Sensei (Teacher)
    Chôko Iida
    Chôko Iida
    • Sensei no tusma (Mrs. Omura)
    Takeshi Sakamoto
    Takeshi Sakamoto
    • Rou-Shain Yamada (Old Employee)
    Reikô Tani
    • Shachou (Company President)
    Ken'ichi Miyajima
    • Hisho (Secretary)
    Isamu Yamaguchi
    • Kaisha no Douryou (An Employee)
    Mitsuo Ichimura
      Kanji Kawara
        Chishû Ryû
        Chishû Ryû
          • Dirección
            • Yasujirô Ozu
          • Guionistas
            • Komatsu Kitamura
            • Kôgo Noda
          • Todo el elenco y el equipo
          • Producción, taquilla y más en IMDbPro

          Opiniones de usuarios16

          7.11.6K
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          Opiniones destacadas

          7sergalpeev

          Very good film. Watched in one breath

          It is reasonable to read about this period in history, because there are quite a lot of Ozu's films from this time about unemployment. When you understand more about Great Depression then the topic looks more clear to you when you watch the film.
          7frankde-jong

          A father being courageous or reckless ... that's the question.

          "Tokyo story" is another silent movie of Yasujiro Ozu, of witch "I was born ... but" (1932) is the most well known.

          Just like "I was born ... but" "Tokyo chorus" is about young parents and young children. In later years Ozu would concentrate more on the relationship between adult children and elderly parents. The obvious explanation would be that the stage of life of Ozu himself was leading in the choice of his subject. Given that Ozu was a bachelor all his life this explanation is however not true.

          Just like "I was born ... but" "Tokyo chorus" is about shame with the employment of the father. In this case however it are not the children who feel the shame but the wife. Moreover in "Tokyo chorus" the "inferior" employment of the father is the result of his solidarity with an older colleague which was treated unfair. With this solidarity he showed his courage (unlike his other colleagues) but ultimately he only achieved that he was fired as well.

          In Western eyes this gives the film a certain social engagement. Not very typical for Ozu! I wonder however if Ozu really meant it this way. In the beginning of the film we see that the main character was a rebel in his student years. In in between shots we see images of laundry drying in the sun. Another (more Japanese?) interptretation is that the main character is immature at the beginning of the film, insufficiently aware of his responsibilities as a father (symbolized by landry drying in the sun). Only through misfortune (of his own making) he finally grows up.

          Whatever the interpretation, already in 1931 the style of Ozu was taking form, both regarding subject (family life) as regarding style (the use of in between shots).
          8crossbow0106

          Early Ozu. Seems Very Current

          An insurance man promises to buy his son a bicycle since it is the day he would get his bonus (the beginning sequence of him being kind of a loser in army drills is funny). A colleague gets fired nd the man sticks up for him nd gets fired also. His son is angry because he can't buy the bicycle. What follows is Ozu at his best: Taking a small situation and making it compelling. There is drama but also some slapstick in this film (and, in the role of the young daughter, the eventual wonderful actress Hideko Takamine) and it works because the story seems so close to home. There are lots of family moments, and your wish throughout the film is that everything will be all right (watch to find if it will be). Not a great film, but well worth your time. Ozu's next film was the excellent "I Was Born, But", and you can get them both on the box set "Silent Ozu", which have English subtitles. Recommended.
          7davidmvining

          Early refinement

          The more time goes on in Ozu's career, the more purely Ozu his films feel, even when he's making a dramatic comedy that takes place mostly outside the house. It's a combination of small moments and the overall dramatic push of the film that give Ozu this unique feel of quietly embracing the smallness of everyday life, not seeing it as a bad thing but something to be celebrated in its own little ways. It's life-affirming and warm, and it's a wonderful way to spend 90 minutes.

          Shinji (Tokihiko Okada) is a young professional, fresh out of college, and dealing with a family that includes his eldest son (Hideo Sugawara) who wants a bicycle like all of his other friends. Shinji promises him that bicycle with his bonus money, which should be coming that very day. However, Shinji gets into an argument with the company president about Yamada (Takeshi Sakamoto), an elderly employee who's being let go a year before his pension kicks in because of a mistake he made. The argument spirals, and Shinji gets fired. The rest of the movie is the little things Shinji has to do to break the news to his family and make ends meet. His wife, Sugako (Emiko Yagumo) loves him, but she's very Japanese and can't stand to see her husband lose face. So, when he takes a job helping his old professor, Omura (Tatsuo Saito), market his restaurant by parading around with a flag and handing out flyers, she's embarrassed at his status.

          Where the joy comes in this is in the small moments. First, there's the light comedy that Ozu liked to sprinkle through his films. The early parts of the film are dominated by the office with the workers getting their bonuses, but Japanese culture encourages privacy on pay matters while also being filled with curious people. So, it becomes this dance as people take their bonus check envelopes and try to open them in private. The comic height is one opening his envelope in the bathroom and accidentally spilling the bills into the urinal.

          Then there are the human moments. Shinji, on one of his many walks looking for work before running into Omura, finds Yamada handing out insurance advertising bills on the street. They sit down in a park and start to talk about life. There's suddenly frantic word about a bear having escaped nearby, but Shinji doesn't stir from his spot. Instead, he says, a bear won't save their lives. So, Yamada sits back down, and they continue to talk with the two barely moving. It's about embracing those small moments in life and enjoying them with people. That gets mirrored later with Shinji and his family. Penniless and without hope for work, he sits down at home and starts a game with his children, sitting in a circle and singing a song. There are smiles all around, even from Sugako, and life moves on.

          Of course, there's an ending to this where Shinji's prospects brighten instead of darken through all of his suffering and efforts, and it's the kind of warm thing I'd expect from an Ozu film. However, it can't all be roses and cocktails. Shinji's efforts to help Omura's restaurant included bringing back all of his classmates to help, and Omura is faced with losing his students once again. It's all just played on faces, and it works surprisingly well.

          My only problem with it is that Omura, aside from a brief appearance in essentially a prologue, didn't appear in the film until about an hour in. And most of his scenes are played for laughs (them bickering about who has to hold the heavy flags is amusing). So, the impact isn't that strong.

          Also, like most of Ozu's comedies, they're not that funny. They're amusing. They have a nice feel as people navigate comedic situations, but they're not Keaton's death-defying stunts or Chaplin's intricately choreographed setpieces. His movies work best in their quiet moments, but it seems obvious to me that while Ozu was doing everything to make these films his own, he was still a cog in a studio machine, making films in genres he could manage but wasn't naturally inclined to make himself. So, he does the assignment well, but the really interesting stuff is where he can bend the film to his whims most. The precursors to the films that made him famous in the 40s and 50s. He might not have been blooming just yet, but Ozu's films were showing serious potential for growth while entertaining in mostly slight ways at the same time.

          This Ozu guy...he's REALLY good at this movie making thing. The more time goes on in Ozu's career, the more purely Ozu his films feel, even when he's making a dramatic comedy that takes place mostly outside the house. It's a combination of small moments and the overall dramatic push of the film that give Ozu this unique feel of quietly embracing the smallness of everyday life, not seeing it as a bad thing but something to be celebrated in its own little ways. It's life-affirming and warm, and it's a wonderful way to spend 90 minutes.

          Shinji (Tokihiko Okada) is a young professional, fresh out of college, and dealing with a family that includes his eldest son (Hideo Sugawara) who wants a bicycle like all of his other friends. Shinji promises him that bicycle with his bonus money, which should be coming that very day. However, Shinji gets into an argument with the company president about Yamada (Takeshi Sakamoto), an elderly employee who's being let go a year before his pension kicks in because of a mistake he made. The argument spirals, and Shinji gets fired. The rest of the movie is the little things Shinji has to do to break the news to his family and make ends meet. His wife, Sugako (Emiko Yagumo) loves him, but she's very Japanese and can't stand to see her husband lose face. So, when he takes a job helping his old professor, Omura (Tatsuo Saito), market his restaurant by parading around with a flag and handing out flyers, she's embarrassed at his status.

          Where the joy comes in this is in the small moments. First, there's the light comedy that Ozu liked to sprinkle through his films. The early parts of the film are dominated by the office with the workers getting their bonuses, but Japanese culture encourages privacy on pay matters while also being filled with curious people. So, it becomes this dance as people take their bonus check envelopes and try to open them in private. The comic height is one opening his envelope in the bathroom and accidentally spilling the bills into the urinal.

          Then there are the human moments. Shinji, on one of his many walks looking for work before running into Omura, finds Yamada handing out insurance advertising bills on the street. They sit down in a park and start to talk about life. There's suddenly frantic word about a bear having escaped nearby, but Shinji doesn't stir from his spot. Instead, he says, a bear won't save their lives. So, Yamada sits back down, and they continue to talk with the two barely moving. It's about embracing those small moments in life and enjoying them with people. That gets mirrored later with Shinji and his family. Penniless and without hope for work, he sits down at home and starts a game with his children, sitting in a circle and singing a song. There are smiles all around, even from Sugako, and life moves on.

          Of course, there's an ending to this where Shinji's prospects brighten instead of darken through all of his suffering and efforts, and it's the kind of warm thing I'd expect from an Ozu film. However, it can't all be roses and cocktails. Shinji's efforts to help Omura's restaurant included bringing back all of his classmates to help, and Omura is faced with losing his students once again. It's all just played on faces, and it works surprisingly well.

          My only problem with it is that Omura, aside from a brief appearance in essentially a prologue, didn't appear in the film until about an hour in. And most of his scenes are played for laughs (them bickering about who has to hold the heavy flags is amusing). So, the impact isn't that strong.

          Also, like most of Ozu's comedies, they're not that funny. They're amusing. They have a nice feel as people navigate comedic situations, but they're not Keaton's death-defying stunts or Chaplin's intricately choreographed setpieces. His movies work best in their quiet moments, but it seems obvious to me that while Ozu was doing everything to make these films his own, he was still a cog in a studio machine, making films in genres he could manage but wasn't naturally inclined to make himself. So, he does the assignment well, but the really interesting stuff is where he can bend the film to his whims most. The precursors to the films that made him famous in the 40s and 50s. He might not have been blooming just yet, but Ozu's films were showing serious potential for growth while entertaining in mostly slight ways at the same time.

          This Ozu guy...he's REALLY good at this movie making thing.
          7boblipton

          Degradation

          Tokihiko Okada is a salaryman at an insurance company in Tokyo. He has a wife, Emiko Yagumo, a son, a daughter (played by Hideko Takamine) and a baby. Money is tight, but a bonus is coming his way. Unfortunately for him, a fellow worker is fired in a manner that suggests the boss wants him gone before his pension vests. Okada goes to speak to the boss, gets into a shoving match with him, and is fired himself.

          At first it seems that it will be a matter of picking up a new job, but he soon finds himself one of the "Tokyo Chorus" of the unemployed. Matters grow worse and worse...

          This movie starts out as a comedy, with Physical Education teacher Tatsuo Saitô terrorizing his students -- including Okada -- like a cop in a Hal Roach comedy writing tickets. As the movie goes on, the tone begins to take on a more serious tone, with outbursts of real problems -- like when Miss Takamine has to go to the hospital -- amidst the comedy, which grows ever more wan. When Okada goes to work for his former teacher, handing out leaflets advertising his restaurant, his wife sees him doing so, and is humiliated; Okada, who starts this movie like Harold Lloyd trying to keep up with the Joneses, has crashed through the floor of the educated middle class, into the lower class; this is not America, where he can be redeemed and restored, but Japan, where appearances are more important than the reality. This is no longer a comedy, but a tragedy.

          The print I saw on TCM was certainly not pristine; the titles were worn, and there was extensive chipping. The story was also far more episodic than fluid. This is not the Ozu of the 1950s, but a different one, with slapstick and tracking shots. These last points raise an issue I have been thinking of. Ozu is famous for the way he directed his later movies: long, still takes shot from floor level. Why the change? The late introduction of sound movies into Japan meant that the problems of moving cameras had been solved by the time Ozu made his first sound feature in 1936. He only gradually abandoned tracking shots, and was still using them as late as 1949.

          I have concluded that a good movie is composed of story, character, incident and camerawork, and as Ozu entered the 1950s, he settled firmly on character and the interactions between them as his interest. With his often-repeated plots, his people's relationships were the stuff that fascinated him and his audience. Incident (in the form of slapstick comedy) and camera movement were matters that distracted viewers from the people, and made it too easy for them. By removing the overt comedy, Ozu removed the distraction. By removing the camera movement, he made his audience work harder at understanding the characters, which invested them in the process

          Anyway, that's my understanding at the moment. What's yours?

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          Argumento

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          ¿Sabías que…?

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          • Trivia
            In the top 10 of Kinema Junpo's Top Japanese Movies of 1931.
          • Errores
            The father takes the ice-water bag off his ill daughter's forehead twice between shots.
          • Citas

            Shinji Okajima: A drowning man will clutch at straws.

          • Conexiones
            Featured in Die linkshändige Frau (1977)

          Selecciones populares

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          Preguntas Frecuentes12

          • How long is Tokyo Chorus?Con tecnología de Alexa

          Detalles

          Editar
          • Fecha de lanzamiento
            • 15 de agosto de 1931 (Japón)
          • País de origen
            • Japón
          • Sitio oficial
            • Official Site - DVD (Japan)
          • Idiomas
            • Ninguno
            • Japonés
          • También se conoce como
            • Tokyo Chorus
          • Productoras
            • Shochiku
            • Shochiku Kamata
          • Ver más créditos de la compañía en IMDbPro

          Especificaciones técnicas

          Editar
          • Tiempo de ejecución
            1 hora 30 minutos
          • Color
            • Black and White
            • Black and White
          • Mezcla de sonido
            • Silent
          • Relación de aspecto
            • 1.37 : 1

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