Coeur capricieux

Ozu has often used the theme of father and son relationships in his films and here he explores a little more besides. Beyond the relationship of Kihachi the father and Tomio the young son you get the widower Kihachi trying to become closer to the pretty, much younger Harue. This silent film speaks volumes about family, about hopes but it is Ozu's light comic touch which makes it another great film of his. It is completely silent but it is compelling, actually a story that could be retold and remade in any corner of the globe. The acting is just about universally good and the film has a lot of heart attached to its sometimes ordinary theme. Then again, Ozu has always made extraordinary out of the ordinary. Here is another example of the master at work.

Takeshi Sakamoto and Tokan Kozzo team up memorably yet again as an unemployed illiterate drunk and his resentful son, in this sentimental study of working class father-son relationships. As in I WAS BORN BUT... and TOKYO CHORUS, Ozu explores how children measure their self-esteem in their parents.

Dekigokoro (Passing Fancy), is one of Ozu's 3 masterpieces from 1933. It stars the second of cinematic Ozu's "alter egos", Takeshi Sakamoto. Sakamoto typically plays a down and out working class father. Here, he is especially dense, to excellent comic effect. Tomio Aoki (in probably his most significant child role) plays a kid who seems to be considerably brighter than his father -- and who does more to keep the household running. Aoki is (of course) quite funny. But he also does an excellent job of showing a child's response to unwanted change. He and his father have long depended solely on each other -- but now his father has his eye on a young woman who has moved into their slum neighborhood. Aoki very much resents his father's interest in the woman -- and resists her attempts to win his affections.

This is an extremely visual film, with lots of completely "wordless" humor. The film starts out with an extended scene in a music hall (Chishu Ryu performing as the "singer") in which first a lost wallet circulates, and then a flea (or fleas). Probably not as great a family drama as the prior "I Was Born But" or the subsequent "Tokyo Inn", but nonetheless quite enjoyable.

This rarely screened silent gem shows Ozu rather early in his career. It presents the story of a poor factory worker trying to raise his son despite many obstacles and hardships. The biggest obstacle of all is the father himself who, though well intentioned and charismatic, makes one mistake in judgment after another. The father manages to get through all his many trials and tribulations thanks to the support (not always warmly) given by his friends and neighbors.

The most interesting thing for me about Passing Fancy is the way it uses a quite hard boiled, gritty realism and coarsely drawn, boorish characters to elicit very tender feelings in the viewer. The mixture of humor and pathos that advances the plot would be impossible for lesser directors or a weak cast to pull off, but in the hands of this troupe the whole enterprise succeeds wonderfully. Somehow, you may find yourself tempted to cry despite the near-total absence of sentimentality.

The acting is excellent all around, but the young boy deserves special mention. To Japanese, particularly at the time, the boy's behavior must have seemed shockingly inappropriate and unfilial, but his antics and facial expressions are very funny.

It is hard to believe that this is one of three movies that Ozu directed in 1933 alone. If the opportunity arises to see this movie, make every effort to see it.

Another early Ozu where family ties - severely tested but affirmed - steer the world away from havoc and into good. Another early Ozu that documents Japanese society being pushed through the wringer of Western influence, cinematically reflected with Chaplinesque beats: the father is a lazy factory worker and no good man-about-town, in stark contrast to the meek, corporate executive father in I Was Born But.., and once more the stubborn son has to live with the shame.

This go round and in comparison to the above film, the intended seduction of suburban life is less effective. The innocence of childhood is less the fulcrum of discovery of how the world works, and more a counterpoint to ordinary drama; thwarted love, strained friendship, high-minded sacrifice in the end that seduces noble, better persons out of everyone.

Everything turns out the way it does for a reason, the film whimsically asserts. Why is sea water salty? But of course for us to salt salmon with.

It is good and was awarded that year with a Kinema Jumpo beating films by future rivals Mizoguchi and Naruse. I assume it won for the denouement of selfless humanity - inspirationally miraculous and accompanied by fireworks in the sky - that must have echoed desirably at tumultuous times such as those, but there were more interesting things afoot in Japanese cinema of the time.