Passing Fancy (1933) User Reviews

Fresh and affecting despite its years...

[barkingechoacrosswaves · 8/10 · 27 February 2013]

This rarely screened silent gem shows Ozu rather early in his career. It presents the story of a poor factory worker trying to raise his son despite many obstacles and hardships. The biggest obstacle of all is the father himself who, though well intentioned and charismatic, makes one mistake in judgment after another. The father manages to get through all his many trials and tribulations thanks to the support (not always warmly) given by his friends and neighbors.

The most interesting thing for me about Passing Fancy is the way it uses a quite hard boiled, gritty realism and coarsely drawn, boorish characters to elicit very tender feelings in the viewer. The mixture of humor and pathos that advances the plot would be impossible for lesser directors or a weak cast to pull off, but in the hands of this troupe the whole enterprise succeeds wonderfully. Somehow, you may find yourself tempted to cry despite the near-total absence of sentimentality.

The acting is excellent all around, but the young boy deserves special mention. To Japanese, particularly at the time, the boy's behavior must have seemed shockingly inappropriate and unfilial, but his antics and facial expressions are very funny.

It is hard to believe that this is one of three movies that Ozu directed in 1933 alone. If the opportunity arises to see this movie, make every effort to see it.

Well acted and directed....though not all that interesting

[planktonrules · 7/10 · 3 May 2009]

Yasujiro Ozu is an extremely well respected film director. While not as famous today as his countryman, Kurosawa, among those who are fans of Japanese cinema, he is practically a god. While I have loved many of his films due to their amazing artistry and great direction, I also think that overall, many of his films are a tad overrated. In other words, because SOME films are near-perfect classics (such as both versions of FLOATING WEEDS or my favorite, LATE SPRING), people often tend to see ALL of his films as having the same quality. This is true of all the great directors, as there are a devoted group of followers that see every film as great--even if the films have obvious flaws or were made before the directors learned and perfected their craft.

I mention all this because although PASSING FANCY is a very good film, it's far from great--despite some amazingly positive reviews. While it's true that the Japanese film industry didn't switch to sound until very, very late compared to Western countries, shouldn't this be considered when giving out 10s to these silents? In other words, shouldn't technical merit be considered when reviewing a film? As such, I'd have to knock a point off the film. In addition, the film's plot is amazingly scant and a bit too ordinary.

Now in Ozu's defense, I must say that when it comes to the ordinary, nobody does it better. Here we have the story of a hard-drinking blue collar man and his young son and there's not a lot of excitement or action...but it STILL engages the audience due to his nice touch and excellent acting. In addition, the ending is very sweet and well done--even if nothing is exactly resolved in this story of very mundane individuals.

Well done and worth seeing but not exactly magical.

Ozu's transition to social realism

[alsolikelife · 13 December 2003]

Takeshi Sakamoto and Tokan Kozzo team up memorably yet again as an unemployed illiterate drunk and his resentful son, in this sentimental study of working class father-son relationships. As in I WAS BORN BUT... and TOKYO CHORUS, Ozu explores how children measure their self-esteem in their parents.

It had potential to be better than what it is

[jordondave-28085 · 7/10 · 11 December 2023]

(1933) Passing Fancy/ Dekigokoro SILENT DRAMA

Co-written and directed by Yasujirô Ozu that opens with a group of people sitting around listening to the speaker talking about the latest news. By the time it was over, the movie then focuses on the single father, Kihachi Kimura (Takeshi Sakamoto) his son, Tomio Kimura (Tomio Aoki) who is on the third grade; his best friend and neighbor, Jiro (Den Obinata) and the old lady, Otome (Chôko Iida) who kind of lives with them. When one day, a young lady, Harue (Nobuko Fushimi) who dresses like a geisha is wondering around homeless, with Kihachi taking her under his wing. We then learn more about them and their daily lives. For instance, Kihachi and his best friend, Jiro both work in a factory and do not enjoy it, and that Tomio consistently have to wake them up every morning to go to work, in which they sometimes often show up late.

The movie starts out routinely, and it did not become interesting until the father, Kihachi began arguing with his son, Tomio. The argument regards that his dad is not the most ideal father because he does not know how to read, and that he often drinks at the bar after he comes home. In other words, he is often an embarrassment to his only son. And the more I know more about the father, the more I wanted to know about what happened to his wife, which could be anything! Or what was his wife like, and how come she is not with him anymore- how did she ever put up with him. The father's life began to intrigue me, and I did not get enough of that as much as I hoped. The movie resonates on some areas, while does not work on others, such as the father, beginning to express interest on Harue! For some reason, I almost dozed off, I guess it's a consistent theme when an older man begins to express interest to a younger lady. I also kind of hoped how the father is able to go through his life without reading and writing. Like, can he at least know how to spell his name!

Yet another silent Ozu masterpiece

[kerpan · 10/10 · 10 September 2003]

Dekigokoro (Passing Fancy), is one of Ozu's 3 masterpieces from 1933. It stars the second of cinematic Ozu's "alter egos", Takeshi Sakamoto. Sakamoto typically plays a down and out working class father. Here, he is especially dense, to excellent comic effect. Tomio Aoki (in probably his most significant child role) plays a kid who seems to be considerably brighter than his father -- and who does more to keep the household running. Aoki is (of course) quite funny. But he also does an excellent job of showing a child's response to unwanted change. He and his father have long depended solely on each other -- but now his father has his eye on a young woman who has moved into their slum neighborhood. Aoki very much resents his father's interest in the woman -- and resists her attempts to win his affections.

This is an extremely visual film, with lots of completely "wordless" humor. The film starts out with an extended scene in a music hall (Chishu Ryu performing as the "singer") in which first a lost wallet circulates, and then a flea (or fleas). Probably not as great a family drama as the prior "I Was Born But" or the subsequent "Tokyo Inn", but nonetheless quite enjoyable.

Classic Ozu

[thinbeach · 7/10 · 31 December 2015]

Like many Ozu films, 'Passing Fancy' is about the difficulties of father-son relationships, set in a small Japanese town, mostly passing with the intimate indoor conversations of characters, which framed in a certain way manages to reveal great depth. In this particular instance, in a one room house with few furnishings and damaged walls, the father and son are very poor, but the arrival of an unknown young female to the town sparks a love interest.

It's a pity a film with so much great dialogue is silent, but the technology may not have been available to them at the time in Japan, and once you get used to the rhythm (which only takes a scene or two) it is not something that bothers you. Kihachi is a loveable fool, who smiles and charms easily, but drinks excessively, skips work often, and slowly reveals a raw unattractive side with insensitivity towards his son. You will cheer him on one minute, and despise him the next. It's a film about the difficulties of money, but even more so about responsibility - of being a father, educating our children well, and in the way we conduct relationships.

Ozu films are always associated with home and family and friends but the strong feelings he generates seem rarely to dip into sentimentality. Often it is the small details that stand out - holding that frame of the suburban background just an extra second or two after after the character exits - a small touch, but one that allows time for reflection. Or in the scene where the child slaps the father, how he scrunches up his pants before doing so, the tiniest gesture to reveal he has doubts or concerns about doing it. Ozu trusts the tiny details - blink and you'll miss them - to reveal the big, which makes his films feel both humble and meaningful at the same time. They are wise, not showy.

The third act and particularly the very end is the only part of this film melodramatic enough to feel written for a movie, but it redeems itself by rounding off a great joke and finishing as it began - with a dose of humour amid an otherwise dramatic tale.

Father doesn't always know best

[charlesem · 9/10 · 13 March 2017]

In Passing Fancy we can see Yasujiro Ozu edging, however reluctantly, toward sound. For a silent movie it has an extraordinary number of intertitles, reflecting a stronger reliance on dialogue to carry the story and the relationships of the characters. Ozu even departs from convention on occasion to show a title card before the character has spoken the line. The film also shows more of the development of Ozu's personal style as a director than some of his contemporary silent films do: There's a greater reliance on low-angle camera-work, his so- called "tatami shots," and a more frequent use of shots of streets and buildings that don't necessarily carry information about the plot and characters but serve as something like "chapter breaks" in the narrative. But film technique aside, Passing Fancy would be remembered as one of Ozu's most charming early films. Takeshi Sakamoto plays Kihachi -- a character name the actor would retain in other films by Ozu, including A Story of Floating Weeds (1934) and An Inn in Tokyo (1935). The several characters are discrete from one another, although the Kihachi in Passing Fancy bears some resemblance to the one in An Inn in Tokyo in that they are both single parents of a son played by the marvelous child actor Tomio Aoki. (If you're not confused yet, let me also add that in Passing Fancy Aoki is billed as "Tokkan Kozo," the title of a 1929 Ozu short film based on O. Henry's "The Ransom of Red Chief" in which Aoki appeared. Oh, and that in Passing Fancy, the character is named Tomio.) Anyway, Kihachi and Tomio share rundown lodgings with Jiro (Den Obinata), who works with Kihachi in a brewery. Tomio is a good student, and he's a bit embarrassed by his illiterate and occasionally drunken father. One night, Kihachi and Jiro encounter a young woman, Harue (Nobuko Fushimi), who has just been fired from her job and is looking for a place to stay. Jiro is suspicious that Harue is "no better than she ought to be," as the saying goes, but Kihachi is smitten with her and arranges for her to live with and work for Otome (Choko Iida), a woman who owns a neighborhood bar-restaurant. Kihachi begins to spruce himself up to woo Harue, but she's more attracted to the younger and handsomer Jiro. Eventually, Otome persuades Kihachi that he's too old for Harue and that he should try to get Jiro to return her affections. Then Tomio falls ill and, following the familiar sick-child motif of many Japanese films in the 1930s, Kihachi is pressed to find a way to pay the doctor bills. Ozu's generous humor and genuine affection for his characters suffuses the film, and the splendid rapport of Sakamoto and Aoki as actors provides a special insight into the often volatile father-son relationship. There's a wonderful scene, for example, in which Kihachi slaps Tomio once too often and the boy turns around and begins to pummel his father, who submits, resulting in a deeper understanding between them. The screenplay is by Tadao Ikeda, from a story by Ozu under his pseudonym James Maki. The cinematographers are Hideo Shigehara and Shojiro Sugimoto. (charlesmatthews.blogspot.com)

Delightful a look at the heart of Japanese people pre WWII

[enrightco · 6/10 · 29 April 2019]

A look at pre WWII Japan and it's family cultural values. Who would guess in 30 years they'd industrialize with the introduction of the transistor radio and great affordable cars.

Another Stellar Ozu Film

[crossbow0106 · 9/10 · 5 May 2009]

Ozu has often used the theme of father and son relationships in his films and here he explores a little more besides. Beyond the relationship of Kihachi the father and Tomio the young son you get the widower Kihachi trying to become closer to the pretty, much younger Harue. This silent film speaks volumes about family, about hopes but it is Ozu's light comic touch which makes it another great film of his. It is completely silent but it is compelling, actually a story that could be retold and remade in any corner of the globe. The acting is just about universally good and the film has a lot of heart attached to its sometimes ordinary theme. Then again, Ozu has always made extraordinary out of the ordinary. Here is another example of the master at work.

Ozu still adhering to the silent tradition

[frankde-jong · 7/10 · 12 December 2020]

"Passing fancy" (1933) is the latest of the three "silent Ozu's" that I have watched recently (the others were "Tokyo chorus" (1931) and "I was born ... but" (1932)) and the most recent one. Despite the coming of sound Ozu still adheres (just like Chaplin) firmly to the silent tradition. In his view silent film was on his way to reaching perfection and this was threatened by the still infant and imperfect sound technology. "Passing fancy" has many slapstick elements. See for example how characters in this film scratch their buttocks to express uncertainty and discomfort.

"Passing fancy" is of al three silent Ozu's the one with the most contrast to his later oeuvre.

It is about a young son and an adult father in stead of about an adult son and elderly parents. The father is single. The father is working class and not middle class.

Apart from the father-son relationsship there is also a love triangle in this film. In his favourite pub one night there appears a young lady. The father inmediately falls for her charms, but his younger colleague does not trust the lady. Of course the lady herself prefers the younger colleague. The father does ridicule himself courting someone half his age and in the proces neglects his son. Halfway the film one wonders if the father is raising his son or the other way round.

At the end the father, who is pretty good in fooling himself, has ultimately to come to two conclusions. In the first place that he is too old for the young lady (who calls him "a nice uncle", at first much to his chagrin) and in the second place that he has been a lousy father.

Takashi Sakamoto plays the somewhat naive and not very clever father in such a sympathetic way that the next year he returned as the main charecter in Ozu's real breakthrough film "A story of floating weeds".

A Pedestrian Film Where Nothing Of Much Interest Transpires.

[net_orders · 2/10 · 20 July 2016]

Viewed on DVD. Restoration = four (4) stars. We've all been there: struggling to find the pause button in the dark on your player's remote so you will not miss anything when you are momentarily away from your viewing area. Well folks, it's not a problem with this movie. Just keep it running; when you return you will find you have missed nothing of significance! This is because nothing of significance appears to occur in this film which seems fixated on trivia, fleas (or lice), and fans. Although the actors sure try to build re pore and empathy with viewers, the director seems satisfied with the notion that trivia, fleas, and fans will carry the day. Not really! Staying with acting for the moment, it is (for the most part) first rate and you have likely seen (or will see) many of these actors before (or again)--as members of the director's acting company or, more likely, from the ranks of the studio's contract players). But the actors face a losing battle struggling with a dull script, having to scratch and fan themselves with numbing (pun intended) regularity, and less-than-inspired direction. (The plot is among the missing and the ending is flat out ridiculous!) The artificiality of a studio bound production (except for one outdoor scene) is embarrassingly obvious with small sets for both interiors and "exteriors." Cinematography suffers from the absence of deep focus. Costumes rarely change; some characters wear the same costume; it looks like the actors may have had to provide their own wardrobe. Intertitles and subtitles often occur faster than the speed of speed reading. The piano score is fine, but it's lively nature can not reanimate dead trivia. Restoration is not there yet: distracting deterioration artifacts often occur at what seems to be where reel changes took place. Criterion graphic artists are still having fun frustrating the viewer by making a game of how to turn subtitles (and the piano score) on/off. Bottom line: A padded-out featurette that goes nowhere--very slowly. WILLIAM FLANIGAN, PhD.

Salted Salmon

[chaos-rampant · 7 February 2012]

Another early Ozu where family ties - severely tested but affirmed - steer the world away from havoc and into good. Another early Ozu that documents Japanese society being pushed through the wringer of Western influence, cinematically reflected with Chaplinesque beats: the father is a lazy factory worker and no good man-about-town, in stark contrast to the meek, corporate executive father in I Was Born But.., and once more the stubborn son has to live with the shame.

This go round and in comparison to the above film, the intended seduction of suburban life is less effective. The innocence of childhood is less the fulcrum of discovery of how the world works, and more a counterpoint to ordinary drama; thwarted love, strained friendship, high-minded sacrifice in the end that seduces noble, better persons out of everyone.

Everything turns out the way it does for a reason, the film whimsically asserts. Why is sea water salty? But of course for us to salt salmon with.

It is good and was awarded that year with a Kinema Jumpo beating films by future rivals Mizoguchi and Naruse. I assume it won for the denouement of selfless humanity - inspirationally miraculous and accompanied by fireworks in the sky - that must have echoed desirably at tumultuous times such as those, but there were more interesting things afoot in Japanese cinema of the time.