Start esok ada Festival Filem Jepun kat Midvalley.
Ada Tokyo Story, Chibi Maruko Chan the Movie dan banyak lagi.
Pergile ke http://www.gsc.com.my for more information.
Ditanggung halal. 😆
EDIT: Oh ya, mende ni dua hari je. Ni nak masuk Mags Reviews and Events ke, nak stay kat sini?
dua hari je..empp letak mags review pun kool apa…
link ko letak menyebabkan aku terminat kat satu movie: KUNG FU MAHJONG.. nampak mcm hero drama cina yg jd hero bodo2 alang kat petang2 kat tv3 tue.. sama minah jessica hsuen tue jer.. ke .. org lain eik?
ni aku dpt email smlm.. ada member dah ajak aku dah sabtu nih
TOKYO STORY (Yasujiro Ozu, 1953 – 134 minutes, B/W)
on Asaji’s moors
will he find lodgings?
– Minamoto no Tsunenobu (1016-97)
How do you make a film wherein the camera does not
move & the characters do not move & everyone just sits
around talking? Marvel then at the style of YASUJIRO
OZU in TOKYO STORY, at the Japan Film Festival,
starting tomorrow (16 June 2005), at GSC, Midvalley,
KL. OZU’s stationary camera gives a profound sense of
life’s movement. Like a true Zen master, OZU creates
silences & voids.
TOKYO STORY is a masterpiece & a landmark in Japanese
cinema. The film didn’t make it to the West until 19
years later after its initial release. American
critics were immediately taken with this stately,
powerful critique of the family & its discontents. It
is generally regarded as one of the finest films ever
made & is in the list of the American Film Institute &
TIME’s 100 best films of all time.
An elderly couple journey from their home in Onomachi
to Tokyo to visit their doctor son & a daughter who
runs a beauty salon. The children are too busy to meet
with their parents & send them off to a resort. After
a sleepless night in the noisy resort, the parents
return to Tokyo. For the first time in their lives,
the parents are separated. The mother spends a night
with her daughter-in-law, who has been a widow for
some time. The father visits some old drinking
buddies. As it turns out, the daughter-in-law gives
the parents the attention & love that they need. The
couple’s own children soon have cause to regret their
neglect, but their emotional ties to their parents
have all but been severed by then.
On their journey back to Onomachi, the mother is taken
ill. A stopover in Osaka to recover for the moment
finds the parents reflecting on their life with a
mixture of bitterness & resignation. Another son who
works in Osaka is also too busy to meet them,
disregarding a friend’s advice that ‘no one can serve
his parents beyond the grave.’ Returning home, the
mother gets worse. Her youngest daughter, who lives
with the parents, sends for her brothers, sister &
sister-in-law. Shortly after their arrival, the mother
dies. Only the youngest daughter & the daughter-in-law
seem genuinely saddened. As the daughter-in-law
prepares to return to Tokyo, the widowed father
extends his gratitude to her for her love & kindness &
urges her to remarry. The daughter-in-law’s
contemplative journey home ends the film.
The story may not sound like much in the summary, but
OZU’s cinema is remarkably powerful. Delicately
constructed & deliberately leisurely, TOKYO STORY
allows its dramatic content & thematic concerns to
envelop an audience the way social mores envelop the
film’s characters. OZU seems at once critical of
certain aspects of Japanese tradition & reconciled to
their status & values. His trademark stylistics are
equally intriguing, from his casually non-mainstream
editing patterns (effortlessly crossing ‘the line’),
to his limited camera movement (there are only 3
camera movements in the whole film, if I remember it
rightly!), & his use of mise-en-scene (the use of
off-screen space is particularly famous). Unlike the
Hollywood rule of using 180 degrees, OZU uses the
principle of 360 degrees. Most well-known of all,
though, is OZU’s trademark tatami-level shot, whereby
he creates a way of seeing the world that is
TOKYO STORY is, paradoxically, both intensely insular
& immensely universal. Rarely has a film been so
immersed in specifics of setting & period, so
thoroughly pervaded by the culture from which it was
produced. TOKYO STORY derives its power from both its
unique setting & the universality of its characters &
themes. OZU is noted for his narrative strategy
whereby plot is completely deemphasized, in an attempt
to draw viewer attention away from results & toward
Of OZU’s 53 films, only a few have been released. 34
were silents directed before 1936, many of which have
been destroyed. TOKYO STORY is generally acknowledged
to be one of the greatest ever made, as indicated, for
example, by SIGHT & SOUND magazine’s respected surveys
of film critics. It is probably OZU’s best-known film,
both in the West & in Japan. OZU’s position in the
pantheon of Japanese film directors in Japan & the
West is unmatched.
Dialogue excerpt from TOKYO STORY:
DAUGHTER-IN-LAW: Life is like that. Everyone looks
after their own affairs…
YOUNGEST DAUGHTER: Isn’t life disappointing?
DAUGHTER-IN-LAW: I’m afraid so.
‘Ozu illuminated the mundane to bring out the
transcendental’ – DONALD RICHIE.
‘I want to make people feel without resort to drama’ –
‘I cannot think of my own identity without thinking of
Ozu’ – CHISHU RYU (the father in TOKYO STORY).
OZU’S TOKYO STORY: Edited by David Desser (1997)
THE 7TH VIRGIN FILM GUIDE (1998)