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7,9/10
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MA NOTE
Le chef d'une troupe de théâtre japonaise retourne dans une petite ville côtière où il avait laissé son fils qui pense qu'il est son oncle. Alors qu'il tente de rattraper le temps perdu, sa ... Tout lireLe chef d'une troupe de théâtre japonaise retourne dans une petite ville côtière où il avait laissé son fils qui pense qu'il est son oncle. Alors qu'il tente de rattraper le temps perdu, sa maîtresse devient jalouse.Le chef d'une troupe de théâtre japonaise retourne dans une petite ville côtière où il avait laissé son fils qui pense qu'il est son oncle. Alors qu'il tente de rattraper le temps perdu, sa maîtresse devient jalouse.
Histoire
Le saviez-vous
- AnecdotesStated by cinematographer Kazuo Miyagawa about director Yasujirô Ozu: "I'll never forget that, from the first day on, he knew the names of everybody on the set, fifty people in the crew, people he'd never worked with. He'd written their names down, I learned later. But everyone was impressed and became devoted to him. Every single day working on this film was extremely pleasurable and enriching. In each of Ozu's films you can sniff his personality. He was pure, gentle, light-hearted, a fine individual."
- GaffesNear the end, sandals disappear or move around: after Kiyoshi argues with his father, he runs upstairs, first slipping out of his sandals and leaving them at the bottom (center) of the stairs. Moments later, Kayo goes up to him. We see that she, too, removes her sandals at the bottom of the stairs. But Kiyoshi's sandals have now suddenly disappeared: we see only Kayo's sandals at the bottom of the stairs. Moments later, Kiyoshi comes back downstairs to go after his father. He goes to put on his sandals, which have now suddenly reappeared, but in a different location from where he took them off. A moment later, Kayo also comes down the stairs and puts on her sandals, which are approximately where she had removed them and placed them, moments earlier.
- Citations
Komajuro Arashi: You can't help an empty house, when it's empty.
- ConnexionsFeatured in Siskel & Ebert Holiday Gift Guide (1989)
- Bandes originalesWasurecha iyayo (aka: Don't forget me)
Composed by Yoshikatsu Hoshoda
Sang by the play troupe on a ship
Commentaire à la une
Ozu is a wonderful experience just to watch the musical formations. Each shot is composed in the most careful way so that the assembly has a geometric rhythm. It is soft and melodic, this visual overlay, painting in motion. No one does it better that I know.
There's a talk between two troubled lovers in the rain, then in opposing shelters, that is especially noteworthy, but it is all so cinematically lovely...
The way he's put this together is very Japanese. Each shot length is nearly precisely the length of the one before. Each employs a stationary camera only, but the positioning of the camera only sometimes is where a human eye would be. As I've mentioned, The composition in terms of elements, space and color is perfect in each shot and follows in a deliberate, engineered pattern from the previous shots.
The narrative isn't integrated in the way Kurosawa would do — and be considered un-Japanese for. But the story does much of that for us.
It is a story about pretense and staging, with most of the actors playing characters who are actors and have trouble in being an actor.
You'll have to work to be engaged in the story. But its rather easy to just sit back and admire the loveliness. Ozu is always worth it for this. I don't know many of his films, but this is the most formal of those I know.
Ted's Evaluation -- 3 of 3: Worth watching.
There's a talk between two troubled lovers in the rain, then in opposing shelters, that is especially noteworthy, but it is all so cinematically lovely...
The way he's put this together is very Japanese. Each shot length is nearly precisely the length of the one before. Each employs a stationary camera only, but the positioning of the camera only sometimes is where a human eye would be. As I've mentioned, The composition in terms of elements, space and color is perfect in each shot and follows in a deliberate, engineered pattern from the previous shots.
The narrative isn't integrated in the way Kurosawa would do — and be considered un-Japanese for. But the story does much of that for us.
It is a story about pretense and staging, with most of the actors playing characters who are actors and have trouble in being an actor.
You'll have to work to be engaged in the story. But its rather easy to just sit back and admire the loveliness. Ozu is always worth it for this. I don't know many of his films, but this is the most formal of those I know.
Ted's Evaluation -- 3 of 3: Worth watching.
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- How long is Floating Weeds?Alimenté par Alexa
Détails
- Durée1 heure 59 minutes
- Rapport de forme
- 1.37 : 1
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