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Overview

Note des utilisateurs:
7.9/10   145 votes
MOVIEmeter: ?
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Réalisateur:
Yasujiro Ozu
Writers:
Komatsu Kitamura (adaptation) and
Kôgo Noda (adaptation) ...
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Contact:
View company contact information for Tokyo no kôrasu on IMDbPro.
Release Date:
décembre 1982 (USA) suite
Genre:
Comedie | Drame suite
Plot:
Mr. Omura, a teacher, leads a group of male students in an outdoor drill. One slight, comic young man... suite | add synopsis
Plot Keywords:
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Avis des utilisateurs:
I Worked, But... suite

Ensemble

  (Interprètes principaux)
Tokihiko Okada ... Shinji Okajima
Emiko Yagumo ... Tsuma Sugako (His wife)
Hideo Sugawara ... Sono Chounan (First Son)
Hideko Takamine ... Sono Choujo (First Daughter)
Tatsuo Saito ... Omura Sensei (Teacher)
Chouko Iida ... Sensei no tusma (Mrs. Omura)
Takeshi Sakamoto ... Rou-Shain Yamada (Old employee)
Reiko Tani ... Shachou (Company President)
Kenichi Miyajima ... Hisho (Secretary)
Isamu Yamaguchi ... Kaisha no Douryou (An Employee)
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Additional Details

Autre(s) titre(s):
Tokyo Chorus
Tokyo no gassho (Japan) (alternative transliteration)
Le choeur de Tokyo (France) [fr]
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Pays:
Japan
Couleur:
Noir et Blanc
Aspect Ratio:
1.37 : 1 suite
Son:
Silent

Curiosités

Movie Connections:
Referenced in Ikite wa mita keredo - Ozu Yasujirô den (1983) suite

foire aux questions

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5 out of 5 people found the following comment useful:-
I Worked, But..., 13 December 2003
Author: alsolikelife de United States

A well-to-do employee of an insurance firm gets a handsome bonus only to get fired for standing up for a laid-off co-worker; his stay-at-home wife, son and daughter (a very young but no less adorable Hideko Takamine) all must contend with the effects of his unemployment. This could very well be re-titled I WORKED, BUT... as it has the same eclectic mix of tones found in that "trilogy", this time ranging from the wistfully ruminative to the starkly violent to the hilariously scatalogical. The film also continues the major theme that preoccupied Ozu at this time, employment as a determinant of social status and self-esteem, while also pointing to the dichotomy of home life vs. office life and how children view their parents which would be explored further in I WAS BORN BUT... It is wonderful to witness the sheer range of devices Ozu employs, from tracking shots to keyhole iris shots, generous helpings of physical slapstick and odd assorted throwaway moments that reveal characters in quirky, intimate ways. With its freewheeling technique examining the foibles and fissures of Japanese society from all angles, this is a major example of the young, robust Ozu at his best.

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