Tokyo no yado (1935)

Réalisateur:

Yasujiro Ozu

Scénaristes:

Masao Arata (writer)
Tadao Ikeda (writer)

Date de sortie:

21 novembre 1935 (Japan)

Genre:

Drame

Avis des utilisateurs:

One of the greatest films by anyone -- ever

Ensemble

Takeshi Sakamoto	...	Kihachi
Yoshiko Okada	...	Otaka
Chôko Iida	...	Otsune
Tomio Aoki	...	Zenko
reste de la distribution par ordre alphabétique:
Kazuko Ojima	...	Kuniko
Chishû Ryû	...	Police man
Takayuki Suematsu	...	Masako

Autre(s) titre(s):

An Inn in Tokyo

Durée:

Japan:80 min

Pays:

Japan

Couleur:

Noir et Blanc

Rapport de forme:

1,37 : 1

Son:

Silent

Société:

Shôchiku Eiga

Anecdotes:

The credits indicate that the script was based on an original work by a foreign writer with a name that sounds like "Winzart Monet", but it is actually a gag name, derived from "without money".

Connexions De Film:

Référencé sur Ikite wa mita keredo - Ozu Yasujirô den (1983)

One of the greatest films by anyone -- ever

I would argue that "Tokyo no yado" (Inn at Tokyo) is not only one of Ozu's best films, but one of the best films by anyone ever. It tells the story of an unemployed and homeless single father (Takeshi Sakamoto) with two sons (the elder of the two being the wonderful Tomio Aoki) looking for work in depression-era Tokyo, whose lives intersects with those of a single mother (the marvelous Yoshiko Okada) of a little daughter likewise forlornly seeking a way (and a place) to live. The children can find moments of happiness in the undustrial wasteland -- and their parents can briefly recollect their own happiness as children. The boys have a brief idyll, after their father gets a job with the help of an old friend (Choko Iida), even getting to go to school (a pleasure they value almost as much as having a fixed home and a dependable supply of food). Things, however, become troubled again when the family loses track of the mother and girl (who have not found any "angel" to help them out). A film that is strikingly beautiful -- and more than a little heart-breaking. It is marred by a tiny section that seems overly melodramatic right before the end (but this might be due to infelicities of the intertitles -- or at least of their translation).