"Tokyo Story": Runwu silently establishes a new image of Japan

An elderly couple came from the countryside to visit their children's homes in Tokyo. First of all, I settled at the eldest son's house. As a doctor, the eldest son has to go out for medical treatment at any time and cannot accompany the elderly. As a last resort, the old couple came to the second daughter's house, and the second daughter opened a beauty salon. She was also very busy and liked to be fussy, so they suggested that everyone pay for the old couple to go to the hot sea to soak in the hot springs. However, the noisy Atami night life made the old couple unable to rest normally, and they rushed back quickly, making the second daughter unhappy. As a last resort, the old man went to visit his old friend in Tokyo, and his wife stayed at the second daughter-in-law's house temporarily. The old couple originally came to reunite with their children, but they were pushed around. It is gratifying that the widowed second daughter-in-law treated the second elder like a daughter. The old man is happy. A few days later, the old couple returned to their hometown. Immediately, bad news came. The mother was unconscious, and all the children rushed back. After hurriedly holding a funeral for the old mother, the crowd dispersed, leaving only the second daughter-in-law to accompany the old father to greet him.

The film was directed by Japanese hard-core director Yasujiro Ozu, which once again brought out the best "common people drama" and became a classic. Among them, the actors who joined are even more dazzling. The Japanese "father" Li Zhizhong performed the 70-year-old father at the age of 49 at the time, which is a perfect sound. The Japanese "Holy Maid" is also the prototype character in Jin Min's cartoon "Millennium Actress", and she even interprets the image of the second daughter-in-law to the extreme, making the image of this perfect woman who has never married for life shine to the maximum Spend.

The whole plot is delicate and sincere, the language is plain and simple, and the performance is not exaggerated and contrived. In the atmosphere of no shouting, all kinds of conflicts and disappointments between family characters are completed. Let the audience unconsciously, with the director's original upside-down shooting angle, experience the warmth of the world and the coolness of the world under one roof. This level of attention to the feelings of the common people not only directly established the humanistic and warm line of Japanese films in later generations, and occupied a place in the forest of world films, but also established a flawless image of etiquette for Japan. It is commendable and impatient, with a forward-looking height. Even nearly 60 years later, in 2008, which was directed by Hirokazu Koreeda, we can still see such delicate warmth between families. It can be seen that Yasujiro Ozu's far-reaching influence and profound role played an immeasurable significance in inspiring and educating future directors.

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