rating:
(out of
4 stars)Japan; 1959; aka Floating Weeds
Directed by Yasujiro Ozu; produced by Masaichi Nagata; screenplay by Kôgo Noda, Yasujiro Ozu
Starring Ganjiro Nakamura, Machiko Kyô, Ayako Wakao, Hiroshi Kawaguchi, Haruko Sugimura, Hitomi Nozoe
Yasujiro Ozu's camera never moves. Shot after shot he builds up his films from beautiful compositions, and 'Ukigusa' (or 'Floating Weeds') is a perfect example of this technique. His second film in color is able to show us these compositions, like perfect photographs or paintings, while also telling a human story we care for. Sometimes the film takes a little rest, simpy to observe the created compositions.
The film opens with characters we will not see again, talking about a troupe of performing actors soon to arrive in the small fishing town the story takes place in. Then we meet the different actors, including their leader Komajuro (Ganjiro Nakamura). We learn he has returned after many years. He once had an affair with a woman (Haruko Sugimura) and they had a son. The son (Hiroshi Kawaguchi) learns to know Komajuro as un uncle, not a father, for he never tells him.
The son named Kiyoshi, now a young man, falls in love with a young actress named Kayo (Ayako Wakao). She is send by Komajuro's mistress (Machiko Kyô), after she learns about his secret and grows jealous. Although at first a trap, both fall in love and Komajuro, already in trouble with the ill performing troupe - by now the troupe's manager has taken off - finds himself in another difficult situation.
The story itself is one of simplicity. All elements have been done before, but Ozu's camera observes while it all slowly unfolds. Between the comedy there is quite some wit, not all that obvious. Sometimes just a shot brings a smile to your face, as does the opening shot where a light house is put in the same frame as a bottle, having exactly the same shape.
In a time where films are always filled with action, special effects and filmed with shaky cameras, the peace coming from Ozu's films is very much welcome. Yes, his films contain many shots, but they are so beautifully contructed you hardly notice how many edits there are. His images are supported by a Kojun Saitô score goes easy on the ear, as 'Ukigusa' goes easy on the eye. A delight to watch.