net_orders Review of Tokyo Twilight

Tokyo Twilight (1957)

An Interesting, Low-Keyed, But Prolonged Tragic Photo Play.

[6/10 · 6 May 2016]

Viewed on DVD. Restoration = ten (10) stars. Unlike most films from Yasujiro Ozu, here is a movie you have NOT mostly seen before you actually see it! This is mainly due to a plot that is uniquely divergent for this director (who is also a co-author of the script). It is a refreshing relief from the usual over-the-top depiction of tragedy in many/most dramatic films of the era. No over-blown emoting (except for the youngest lead actress), extensive distraught hand wringing or scenery eating. On the other hand, the serene depiction of an extended family confronting life-changing misfortunes is unrealistically presented as essentially a "business- as-usual," every-day occurrence. The lectern is disguised, but the viewer can not escape the nuanced feeling of being lectured by the Director on how financially well-off, contemporary Japanese families are supposed to confront and react to tragic events. This is a movie that projects the director's opinion of how Japanese society should be, not how Japanese society necessarily was in the mid 1950's. There is not much in the film that is new at the execution level. As usual, there are no surprises, since the script telegraphs all forthcoming events. Most of the director's filming techniques, trade-mark shots, and artifacts are the same as used ad nausea in other films (except for the absence of clothes lines and the frequent substitution of "side acting" for "back acting" this time). As usual, the film is much too long and dragged out. Pretty much the same (outstanding) leading actors/actresses are in residence. Studio sets have been recycled as usual: this family seems to live in the same house as all the other families seen in all the director's other films (complete with bell-ringing outside sliding doors). All establishing shots are at worm's eye level which usually cuts the actors off at mid torso. The schizophrenic film score is badly in need of a music editor to match music and themes with actors and scenes. Music ranges from rip-offs of contemporary Italian movies (especially during the opening credits) to very light-weight Wagner. To add to this sorry state, happy music often accomplices the depiction of somber screen moments. Cinematography (black and white) consists of static shots using graying filters for real exteriors and an antique, narrow-screen format. Subtitles are just right: they neither lag nor lead the clearly enunciated dialog delivery. So in the final analysis what do we have? A photo play that is definitely worth watching and watching in its entirety, although surviving repeat viewings may prove beyond challenging. WILLIAM FLANIGAN, PhD.