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• MOVIE page: Tokyo kazoku (2013)
• Rate: 7.5/10 total 165 votes 
• Genre: Drama
• Runtime: Japan:146 min
• Director: Yji Yamada
• Stars: Y Aoi, Satoshi Tsumabuki, Kazuko Yoshiyuki | See full cast and crew
• Original Music By: Joe Hisaishi   
• Sound Mix: Dolby Digital

Writing Credits By:

• Yôji Yamada (screenplay) &
• Emiko Hiramatsu (screenplay)

     

Story:

Produced By:

• Hiroshi Fukazawa known as producer

FullCast & Crew:

• Yû Aoi known as Noriko mamiya
• Satoshi Tsumabuki known as Masatsugu
• Kazuko Yoshiyuki known as Tomiko hirayama
• Yui Natsukawa
• Masahiko Nishimura
• Jun Fubuki
• Isao Hashizume known as Shukichi hirayama
• Nenji Kobayashi
• Chika Arakawa
• Tomoko Nakajima
• Ayumu Maruyama
• Ryûichirô Shibata
• Narumi Kayashima
• Shozo Hayashiya

Production Companies:

• Shochiku Company

Tokyo kazoku (2013) Review by francislumd from United States
This film is a 2013 color re-make of Yasujiro Ozu's 1953 "Tokyo Story,"that was voted the #1 film by directors in the 2012 Sight and Soundpoll. The plot lines and characters are very similar with some distinctdifferences; even some lines of dialogue are the same or very similar.The biggest difference is that while Noriko in the 1953 film is thedaughter-in-law of the elderly couple, whose son was killed in WWII,Noriko in the 2013 film is the future daughter-in-law engaged to theelderly second couple's son (much more developed in this film, not in aflattering way). In addition, the incomparable Setsuko Hara, known asthe Japanese Garbo, played Noriko in the 1953 film and brought to therole a transcendent luminosity of compassion and wisdom. Secondly,while Ozu had a distinct cinematographic style of usually having thecamera directly in front of the characters while they spoke, we seethis much less frequently in the 2013 film. These are just a few of thedifferences. Overall, it is an interesting re-make, but Ozu's "TokyoStory" is still one of the greatest films ever made.

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Tokyo kazoku (2013) Review by Harry T. Yung (harry_tk_yung@yahoo.com) from Hong Kong

"Tokyo Monogatari" (1953) has purportedly been considered to be masterauteur Yasujiro Ozu's own favorite, and by many others as his greatest.It takes a director with the caliber of Yoji Yamada ("Twilightsamurai") to dare a remake. "Tokyo Monogatari" has been held so deepand dear in the hearts of many film lovers that a remake can almost beconsider sacrilege. I confess to the fact that watching "Tokyo kazoku"(2013), I was asking myself "What's the point?" That is, until near tothe end, when it suddenly clicked as I saw what Yamada is doing. Ozu isinimitable. "Tokyo Monogatari" is not remarkable. Yamada's work,however, is not so much a remake as an update.

The backdrops are markedly different. The post-war world in "TokyoMonogatari" is gloomy and depressing. "Tokyo kazoku" is set in today'spost-IT-revolution world, with cell phone and all. The modern-day moodis familiar to us, excitement but also alienation in a modernworld-class city. People are in general less subtle and moreexpressive.

While not a shot-for-shot remake (say, as "Psycho") "Tokyo kazoku"generally follows "Tokyo Monogatari" very closely, particularly in thedialogue. However, there are some significant changes. One of thecleverest things I find is how Yamada uses the same dialogue andsituation on the altered characters and scenarios. I'll come to thatlater.

Let me to quote from a film critic: Long before the term "generationgap" was coined Ozu probed it profoundly. The central theme in Ozu'smind is the relationship between parents and children. This is alsovery much the case of Yamada. The two couples, the eldest son anddaughter and their respective spouses, are very similar to theiroriginal counterpart. In both, the doctor and his kindly wife are leftintentionally underdeveloped, so as not to overcrowd the film. Thedaughter is as attention-grabbing as in the original, compelling aquestion whether she is being selfish or just practical. Her husbandhas been given a little more of a comic relief role. One change,somewhat insignificant, is replacing the youngest daughter (back in thevillage) with the neighbor's daughter.

The most significant change is on the two "single" young people. In theoriginal, these two are the third son and the widow of the second son(who died during the war). In the remake, there is no third son, whilethe second son is not dead. This second son actually takes on thepersona of the third son in the original – young and impatient.Obviously there is no longer a widow and the character is replaced bythe second son's girlfriend, who has acquired the widow's name Noriko.With these changes comes the "something to offer" I cited in my summaryline.

One change is the introduction of the "Boromir/Faramir complex" whichto "The Lord of the Rings" devotees would be quite obvious. It's thesituation in which the father lopsidedly favors the older son, and isforever critical of the younger. In this case, the favoritism seemsalmost justifiable as the older son is a medical doctor (albeit notparticularly distinguished) while the younger is sort of a drifter.Still, it's also the same old generation gap - just more acutelybrought out.

The biggest change, however, is in the woman. Old Noriko approachesbeing angelic, steadfastly maintaining her loyalty although her husbandhas been dead for 8 years. Her role in the film is pivotal. New Norikohas less of a role to play and yet it is a rather important role. Inthe final scenes, when they were on a ferry leaving the island, she isinstrumental to a subtle reconciliation as she intimates to herboyfriend that his father wasn't really thinking badly of him afterall. "He asked me to take care of you", she tells him. This is how ithappened: the scene between the father and Noriko - how the samedialogue and situation is used for two very different scenarios. In theoriginal, the father was thanking Noriko, repeating to her what themother said about the time she spent with Noriko being the best timeshe had in Tokyo. He then gave Noriko the watch that the deceasedmother left behind. This scene crystallized the almost saintlyself-sacrifice of a widow of 8 years.

The scene is repeated almost exactly with the new Noriko, but in anentirely different scenario. Here, the young girlfriend, although niceand tolerant all along, is not above occasional grumbles to herboyfriend about the outwardly cold, aloof and taciturn father. This isthe "updating" I mentioned earlier. In today's world, one as angelic asthe old Noriko would be a little removed from reality. The new Norikois in fact more "human", someone we can relate to. It's the same scenewith almost the exact same details, with just one difference. The newNoriko, upon realizing that the old man is after all kind andconsiderate, protests that she is not really as good as he describes,and breaks into sobs. Both scenes, old an new, are the most touching inthe film, but in different ways.

The old Noriko was played by legendary Setsuko Hara who will alwaysremain one of the best loved actresses in Japan. The new Noriko isplayed by Yu Aoi, whose charm has been more than adequatelydemonstrated to those who have watched her in "Hana to Arisu' (2004)and "Flowers" (2010), just to name two of her many screen performances.

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Tokyo kazoku (2013) Review by JvH48 from Amersfoort, The Netherlands
I saw this film at the Berlinale 2013 film festival, where it was partof the Berlinale Special Gala. (The "Gala" implies that we wereexpected to dress up for the occasion. Luckily it was not necessary, sowhence the name?? But I did not look for an explanation.)

An elderly couple who have lived in a remote village for many yearsalready, bring a visit to their three grown children in the big city ofTokyo. The first half hour shows a lot of chit-chat between familymembers without really communicating with each other. It may be normalon such an occasion, when family members have no real common topicsapart from ancient memories. Yet it leaves on me a depressing view onfamily relationships. I would not be surprised when this afterthoughtis deliberate, and as such intended by the film makers.

The older son (doctor) is very occupied with his patients, and thedaughter (beauty parlor) is very busy with her daily tasks. And theyounger son who is not taken very seriously by the other familymembers, has decided to live his own life and moved out. Older son anddaughter conspire to move the elderly couple from place to place,making their parents feeling lonely and deserted. Later on the parentsare even shifted to a hotel, and a lot of arguments pass by why this isonly for their own good (we know better than that).

The story becomes interesting when mother and father follow a differentroute during one night. The mother meets the girl friend of the youngerson, and there is an immediate "click". She even entrusts the girlfriend with her savings, to use in case of an emergency, rather thangiving it to her son, because the mother knows about his impulsivebuying pattern. The father drinks too much in a bar, and arrives in themorning in a grumpy state. But (!) he immediately sees that his wifereturned in a happy mood from whatever she did that night. What thelatter was precisely, he would never know due to her sudden heartfailure later that day.

Sitting and waiting in the hospital brings the whole family togetherphysically (but still not mentally), until the dreaded moment that themother is declared dead. Eventually they all travel to the villagewhere father and mother used to live, to attend the funeral rites. Ofcourse, the older brother and sister cannot wait to return to theirduties after the funeral, and only the younger son and his girl friendstay for a few extra days. When they are about to leave, we see acrucial scene when the father and the girl friend have a real talktogether. Suddenly, we see the father figure in a very different light,before that time always seeming a father-knows-best figure, but afterthat scene we stand corrected.

All in all, this microscopic study on family relationships proved veryinteresting, visualized very well, thereby portraying each familymember in his/her own merits. There is no ending to spoil, and there isno real plot either. It is something that should be watched as itpasses by on the screen. The actors perform very well in theirrespective roles, perfectly outlining each ones good and bad features.There are no bad guys in this movie, however, each pulls his weight inthe busy ways of living and coping nowadays.

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Related Search :
'Tokyo Kazoku (Tokyo Family)' The Japan Times A director for the Shochiku studio since 1961, Yoji Yamada is best known for the Tora-san series about a wandering peddler, played by Kiyoshi Atsumi, who is forever ... Tokyo Family (Tokyo Kazoku): Berlin Review - The Hollywood Reporter Remaking Yasujiro Ozus revered Tokyo Story, ... Tokyo Family (Tokyo Kazoku): ... Ten Titles to Track at the 2013 European Film Market in Berlin. Tokyo Kazoku - Wikipedia, the free encyclopedia Tokyo Kazoku ( ?) is an upcoming 2013 Japanese film directed by Yoji Yamada. Tokyo kazoku (2013) - Release Info - IMDb Tokyo kazoku (2013) on IMDb: Movies, TV, Celebs, and more... Tokyo Kazoku Tokyo Kazoku Family-orientated fun and activities in and around the Tokyo area. ... 2013. Sam Harris Free Will I bought Sam Harris' new book, Free Will. Tokyo kazoku (2013) - IMDb Directed by Yji Yamada. With Y Aoi, Satoshi Tsumabuki, Kazuko Yoshiyuki, Yui Natsukawa. Tokyo Family (Tokyo Kazoku) - 2013 movie - Nippon Cinema Trailer for Yoji Yamadas 2013 movie Tokyo Family, a modern remake of Yasujiro Ozus Tokyo Story (1953). 4 months ago 5020135 ... 502013521DVDBlu-ray

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