Criterion Sunday 232: A Story of Floating Weeds (1934) and Floating Weeds (1959)

Bringing together two films by Ozu, his first made towards the tail-end of the silent era of cinema in Japan, and the later one a remake in colour towards the end of his career, this allows for a compare-and-contrast approach between the two, and for me Ozu has grown significantly as a filmmaker, such that the latter is the greater work. Ozu didn’t make many colour films (it took him long enough to get into sound films, after all), but the remake is lovely in many respects. The framing, the pacing and the use of colour is all expertly done. While it’s a drama about an elderly travelling player returning to the small town where he fathered a child — a son who only knows him as ‘Uncle’ — it’s also filled with moments of comedy, for the father (here played by Ganjiro Nakamura) is a rather bad actor and there’s plenty of fun at the expense of his hamminess. The drama with his son didn’t always connect with me on this viewing, but there’s a lot of pathos to the way his life has unfolded — even if he rather too often takes it out on the women around him. The earlier film (from 1934) follows the same melodramatic plot (with Takeshi Sakamoto as the father), but it never succumbs to anything mawkish or sentimental. Ozu expresses it all so clearly that I imagine I’d pick up on a lot more were I to watch it again (which, given for technical reasons I had to watch it all completely silent, I feel I should probably do).


FILM REVIEW: Criterion Collection

浮草物語 Ukikusa Monogatari (A Story of Floating Weeds, 1934)
Director Yasujiro Ozu 小津安二郎; Writers Tadao Ikeda 池田忠雄 and Ozu; Cinematographer Hideo Shigehara 茂原英朗; Starring Takeshi Sakamoto 坂本武, Choko Iida 飯田蝶子, Rieko Yagumo 八雲理恵子; Length 86 minutes.

Seen at a friend’s home (DVD), London, Sunday 30 September 2018.

浮草 Ukigusa (Floating Weeds, 1959)
Director Yasujiro Ozu 小津安二郎; Writers Kogo Noda 野田高梧 and Ozu; Cinematographer Kazuo Miyagawa 宮川一夫; Starring Ganjiro Nakamura 中村鴈治郎, Machiko Kyo 京マチ子, Haruko Sugimura 杉村春子; Length 119 minutes.

Seen at a friend’s home (DVD), London, Sunday 7 October 2018 (and originally on laserdisc at the university library, Wellington, October 1997).

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Criterion Sunday 138: 羅生門 Rashomon (1950)

Though it may be one of those films that’s always on a best-of list somewhere, and therefore has the sense of being a boring dusty old classic, thankfully it’s for many good reasons and none of them involve being bored. Whatever else, it must be one of the most influential movies ever, not least for its audacious structure, moving back and forward in time and presenting overlapping testimonies on a rape/murder, each of which conflict with the others. It’s a film about the power and responsibility of storytelling, and of the infinite variety of interpretation, made by a filmmaker who — more than most others — has utter mastery over narrative exposition in filmic form. Kurosawa really is peerless in this regard; every cut and every scene moves the narrative forward in some way, or develops a theme of the film. The acting is iconic (suitably so) and much has been written about the sun-dappled cinematography. But for all the exegeses and critical plaudits, it stands up as a film which still entertains and educates.

Criterion Extras: Chief among the extras is a documentary called A Testimony as an Image (2012). This is, essentially, a making-of extra, albeit with the benefit of over a half-century of hindsight. The few remaining living crew members who worked on Kurosawa’s film come together to discuss their memories of its creation, so we get plenty about how the script came together (from one of the assistant directors, and a script supervisor), then about the set construction (from one of the lighting people), about that notable cinematography and the challenges of shooting in a dark forest, and about the stresses Kurosawa was under to get the release finished despite setbacks include a studio fire. It’s based around these reminiscences, with a few archival shots and some explanatory text, but these elderly men (and one woman) retain vivid memories and their recollections are worth listening to.

Also on the disc are around 15 minutes of excerpts from a documentary about cinematographer Kazuo Miyagawa, and a short address to camera by Robert Altman about how all the influences he stole from Kurosawa and from this film in particular. There’s also a halting radio interview with Takashi Shimura from around 1960, which is interesting if not especially enlightening. Donald Richie’s commentary track helps to pull out a lot of the themes, and engages the viewer with an awareness of all that Kurosawa and his team achieve in the film, making it even better and more interesting (I rewatched it with the commentary immediately after the film, and it didn’t get boring at all).


FILM REVIEW: Criterion Collection
Director Akira Kurosawa 黒澤明; Writers Kurosawa and Shinobu Hashimoto 橋本忍 (based on the short stories 羅生門 “Rashomon” and 藪の中 “Yabu no Naka” [In a Grove] by Ryunosuke Akutagawa 芥川龍之介); Cinematographer Kazuo Miyagawa 宮川一夫; Starring Toshiro Mifune 三船敏郎, Machiko Kyo 京マチ子, Masayuki Mori 森雅之, Takashi Shimura 志村喬; Length 88 minutes.

Seen at Paramount, Wellington, Wednesday 14 April 1999 (as well as earlier on VHS at home, Wellington, November 1997, and most recently on DVD at a friend’s home, London, Sunday 1 January 2017).