Uma História de Ervas Flutuantes

I was able to see The Story of Floating Weeds for the first time recently, thanks to the Criterion Collection's DVD.

I was led to it when I came across Roger Ebert's list of his ten favorite films (written some time ago).

In his notes, Ebert claims Ozu shows us a "different cinematic language" but I find that kind of talk so much blather. Ozu uses his shots effectively to allow the actors to communicate the emotions being portrayed, especially necessary in this silent film.

A third rate company of traveling actors returns to a town after four years. The leader of the troupe had abandoned his lady in this town years before in order to tour with his company. He has fathered a son by the woman, whom he visits whenever he can, but his paternity is kept secret from his son.

What follows is the exposure of the secret and the effect it has on the lives of everyone involved, and some innocent bystanders as well.

The camera is almost always objective, the acting style is somewhat less melodramatic than in American silent films. There are excellent performances by all.

No time period is given for the story, but I have to assume it is earlier than the year the film was made (1934) because there are no automobiles, no radios, no telephones.

The enjoyment of Floating Weeds lies in the story itself and the ability of the director to tell it compellingly. If you demand car chases or food fights, this is not for you.

The Criterion DVD allows you to watch with or without the specially commissioned score. For first viewing, I recommend without.

This is one of the earliest Ozu films widely available, and the Criterion version is outstanding in quality.

Its a perfect example of Ozu at his best. Its a gem of a film - beautifully shot, a perfect structure, funny, sad and fascinating. The story is simple enough - a traveling troupe arrive at a town, not realizing the reason the chief actor picked the town is because an old flame of his lives here with his son. His current girlfriend in her jealousy tries to stir things up, but things don't turn out as either expect.

What is most striking about the film is just how modern it seems. The characters are believable and funny, the female characters are strong and willful, while even the minor characters are nicely sketched out. The acting is nothing short of brilliant, which makes the whole film very entertaining - this is no period piece of academic interest only, its a great work of art and a wonderful film - a masterpiece really.

"A Story of Floating Weeds" (1934) was the second Yasujiro Ozu's film I've seen. Like with "Tokyo Story", I kept asking myself, why the film that was made so many years ago about the people who lived so far away in the world I don't know much about is so wonderfully engaging? Why was I so drawn to the characters of this human drama? The story is simple: an aging, traveling actor who is the manager of a kabuki troupe returns to a remote village where he secretly meets his former lover and her 19 year old illegitimate son, to whom he is known as "uncle." The older man finds happiness in communicating with his son who turned to be a fine young man. His current mistress, filled with jealousy because of his attachment to his secret family, hires a young beautiful girl, the member of a troupe to seduce a boy.

Directed by the great director and humanist with elegant simplicity, genuine interest to his characters and restraint, this moving film is never melodramatic or manipulative.

I liked the music score written specially for the film in 2004. I tried to watch it silent but it would take me more than one viewing to get used to no music score at all.

Seems that Ozu valued the film and thought about it a lot - he himself made a remake in color and sound 25 years later.

Remakably similar in structure yet different in tonal effect to Ozu's more famous 1959 remake, this story of a travelling troupe's last days in a seaside village was one of Ozu's first forays into a quiet, rural background, though it still feels brisk compared to the more staid and sumptuous remake. The depictions of stage life are more slapstick-oriented than in the remake (most notably in Tokkan Kozo's hilarious turn in a full-sized dog costume), but are counterbalanced by sensitive portrayals of all the characters, especially the great, dignified lead performance by Takeshi Sakamoto. The romantic interludes are as powerful as in the remake, though without employing the overt sensuality of on-screen kissing; instead there appears to be the use of a filter or gauze to give the scenes between the young couple an otherworldly effect, which gives more emphasis of the idea of the actress employed to seduce the troupe leader's son enacting a "performance", an idea that I would have like to have seen developed even further. Even so, this is a marvellous work with a set of wonders distinguishable from that of the remake.

This film is full of the sensitive observation, the slow-building tragic emotion and the moral ambiguity of Ozu's later works. While eschewing the cheap tragedy that was already so fashionable in Japanese melodrama (you can imagine the story going in that direction for any other director), the ending leaves the viewer uncertain and unsettled, with only the vaguest hopes for all concerned.

Apart from the depiction of a rundown and pathetic acting troupe (it reminds me of Alan Mowbray's drunken Shakespearian actor in 'My Darling Clementine'), and the rural small-town atmosphere, what lingers on in the mind is the portrait of an extremely flawed man. Like the great male characters of American cinema, Ichikawa is decent but ruled by anger, regret, and a certain way of life. will Ichikawa ever really be able to change, or do justice to those he feels responsible for? But after all, actors will be actors...

In fact, if this film is to be criticized for anything, it should be done so for its lack of a really detailed look into the lives and profession of the actors. After all, Ichikawa's profession turns out to play such an important part, in the end, in the fate of his 'family'.

Ozu's direction of women (particularly Ichikawa's wronged, but vengeful, lover) is sensitive and truthful, while his his direction of children is, as always, well-observed and hilarious.