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The Worst Film Ever

I like movies that are aware of what they are selling... without [any] greater aspirations than to make people laugh and that's it.

The thing I enjoyed most about the film is the fact that it doesn't shy away from being a super-sized-cliche;

The film never slows down or bores, plunging from one harrowing sequence to the next.

A theatre troupe comes to a coastal town in Japan, including the leader of the troupe who had previously visited twenty years earlier and fathered a child with a local woman. It starts off with too many characters engaged in random conversations. Although it takes a while for the main story line to emerge, the film becomes more interesting once it gets to that point. As one would expect from Ozu, the acting here is generally good if somewhat theatrical. The cinematography is quite colorful, helped by the picturesque seaside setting. Unfortunately, the plot is rather mundane and melodramatic, with themes of seduction and infidelity more suited to a trashy Hollywood movie.

Yasujiro Ozu was perhaps the greatest obsessional filmmaker in history. Thus, it's no surprise that not only did he rework the same themes over and again in his films, but that he also redid earlier films of his own years later, such as 1932's I Was Born But... as 1959's Good Morning. The most famed examples of this trait are 1934's silent black and white A Story Of Floating Weeds (Ukikusa Monogatari), written by Ozu and Tadao Ikeda, and 1959's sound color film, Floating Weeds (Ukigusa), written by Ozu and Kôgo Noda. Both films, whose titular metaphor revolves around the lives of itinerant actors, tell basically the same tale, in slightly different ways, with differently named characters. They follow the ups and downs of the leader of a really bad theater troupe, on its last legs (not unlike the characters from Federico Fellini's first film, Variety Lights), who lands in a town and visits an old girlfriend who bore him a son. In both films, the son believes his father is really his uncle, and the major development in the films is how the father's jealous actress girlfriend tries to sabotage things by having a pretty young actress seduce the son, thus recapitulating the father's key moment in life, one the father believes ruined his chance at stardom and happiness.If one is thinking that this is the stuff of pure melodrama, it is. But that's true only on the surface. This is where depth and execution of an art come into play. It also abnegates claims that Ozu eschewed plot in his films for melodrama is about nothing if but plot. While it's true he did not strive for A to B to C narratives, and preferred 'organic' story growth, the fact is that all his films had plots, and good ones. But they were not plot driven, nor dependent upon the heavyhanded machinations most drama and films rely upon. The difference between having a plot and being plot driven is something most critics seem to not understand. Ozu simply removes the superfluous plot moments and adds contemplative, poetic, and metaphoric shots in their place, what are termed 'pillow shots.' The emphasis is thus not on the driving, but the driver, of plot. After all, the tale of a parent who has a long lost child is not fresh, although the way it's told can be.As for the films, the earlier one is actually the slightly better film, mostly because it's more concise- clocking in at 86 minutes vs. the two hour remake….In defense of the later film, it has more humor (one character from the troupe claims his name is Toshiro Mifune- the great star of so many Akira Kurosawa films; a nod to Ozu's rival), and the son's reaction to the news about his father seems a bit more mature and realistic than in the earlier film, while the mother seems more resigned to her lover's leaving, rather than being devastated- as in the earlier film. But the ending of the earlier film, on the train, is better, for when we see the troupe leader reunited with his love, and see the sleeping child, the earlier film leaves no doubt that the leader is wistfully thinking of his son, while the later film does not. Another plus that the later film has is its use of color and symbolism, which is far more striking. The opening scene contrasts a lighthouse in the background with a foregrounded bottle. It is a stunning visual image, and such phallic symbols abound in the film, as bottles are repeatedly seen, and there is a scene where the local prostitutes tease the male troupe members as they suck on popsicles. We then see the lighthouse from other perspectives over the course of the film. The earlier film is not set at a seaside town, but in a rural area, and the scene of the father and son fishing is superior in the later film, for there is no oddly stylized synchronization of the pair tossing their fishing lines into the river, over and again, as in the 1934 film, and what the duo speak of- their views on the father's approach to acting, is far more cogent than in the silent version, whose major moment is when the father drops his wallet into the running water. The later version also mimetically puts the father and son in the position of the bottle in relation to the lighthouse at the film's opening. What this means, from a phallic perspective, is open to several interpretations. Another major difference between the two films is that the earlier film has more motion in it- literally. It was made before Ozu got caught in his tatami mat point of view mode, and therefore the emotion of the drama is recapitulated better in the earlier, more kinetic, film….Both A Story Of Floating Weeds and Floating Weeds are proof that not all obsessions result in negativity, a thing one might remind oneself of the next time someone speaks ill of that trait. They are also fine examples of what made Yasujiro Ozu a great artist, even if the art in them might fall just a bit shy of overall greatness. Viva obsesión!?

This was a lovely little Japanese film about an acting troop's visit to a small town. One of the troop's members is an older man who fathered a child in this town many years ago and it has remained a secret. His arrival is greeted by the boy and his mother as a visit from an uncle, not his father. These relationships and the relationship between the man and other women in the troop are interesting. While not the very best Japanese film I've seen, the acting and direction are excellent and this film is well worth your time. However, it is possible that SOME may find the ending somewhat unsatisfying, though I did not feel that way. In other words, the typical Hollywood-style ending is NOT what you get from this movie.This film was originally made by Ozu in 1934--though oddly this version is silent. And the original is nearly identical in many, many ways. Because of this, I actually preferred the remake, though both are well worth seeing.

A drama revolving a theater troop conveys Japanese unique sense to accept ups and downs of life as they are. Ozu distills the sense with his original techniques, such as frame-inside-frame shots, absolutely fixed camera without panning, zooming and dolly, and disoriented editing, along with precisely composed color shots. An unforgettably beautiful scene is Kyo and Nakamura's brawling-in-the-rain.