Coral de Tóquio

A well-to-do employee of an insurance firm gets a handsome bonus only to get fired for standing up for a laid-off co-worker; his stay-at-home wife, son and daughter (a very young but no less adorable Hideko Takamine) all must contend with the effects of his unemployment. This could very well be re-titled I WORKED, BUT... as it has the same eclectic mix of tones found in that "trilogy", this time ranging from the wistfully ruminative to the starkly violent to the hilariously scatalogical. The film also continues the major theme that preoccupied Ozu at this time, employment as a determinant of social status and self-esteem, while also pointing to the dichotomy of home life vs. office life and how children view their parents which would be explored further in I WAS BORN BUT... It is wonderful to witness the sheer range of devices Ozu employs, from tracking shots to keyhole iris shots, generous helpings of physical slapstick and odd assorted throwaway moments that reveal characters in quirky, intimate ways. With its freewheeling technique examining the foibles and fissures of Japanese society from all angles, this is a major example of the young, robust Ozu at his best.

In "Tokyo Chorus", Ozu interplays two major of his long-standing themes - economic status and the everyday realities of family life.

The plot is simple (warning, spoilers): A young salary-man loses his white-collar insurance job trying to cover for an aging colleague. Unfortunately, it is 1931 and the Great Depression means few other employment opportunities. He has difficulty covering the expenses of his family. After misadventures, he runs into his former professor-now-health-food-café-owner who promises him aid if the young man assists him with the café. Part of that assistance is handing out handbills in the street, a major loss of economic and personal status. Unfortunately, his wife sees him and is greatly shamed by the family's loss of status. Gradually, she accepts the need for sacrifice and also begins to assist in the café. During the large opening banquet at the café (guaranting it's success), the old professor receives word that the young man has been offered a teaching post, albeit one in a small and distant town. The movie ends on this hopeful yet downbeat note.

Ozu does not hesitate to attempt to show us the realities of Great Depression unemployment. Indeed, he is more truthful than any comparable American movie of that time or ours. Ozu is willing to attempt to dig into the nexus between employment, self-identity and status that is prevalent throughout capitalist economies. This was his primary theme at the beginning of the Depression, in this movie along with his early masterpiece "I Was Born, But..." and "Where Now are the Dreams of Youth?" and "Passing Fancy". In addition, Ozu also flexes his unparalleled ability with family scenes. Excellent performances from Ozu regulars Tokihiko Okada, Emiko Yagumo, Tatsuo Saito, as well as a winning child performance from future star Hideko Takamine. Watch out for the world's cutest fat baby!

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.

I enjoyed this as much as any Ozu movie that I've ever seen. I think the silent medium inclined the director more to light-heartedness, not that it was ever absent from his films. Near-slapstick leads to genuine pathos on a much more naturalistic way than it ever would in, say, a Chaplin film. Ozu always recognized and appreciated a great face. In his silent films, however, his reliance on the face is much more active, using lighting and framing to convey expression as much as the performers' inherent ability. Ozu may be unique in that the performances in his silent films seem more like "movie acting" in the western sense than do those in his talkies, in which the actors seem more indebted to the tradition of the Japanese stage. But then again, everything about Ozu's early films seems more western. He had not yet become the mandarin we know him as from his peak years. The director's sense of humanity, however, was fully on display. His silent faces rank with Dreyer's, or Rembrandt's for expressiveness.

"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).