Yasujiro Ozu

Tokyo Twilight

Tokyo Twilight

One of Ozu's most piercing portraits of family strife, Tokyo Twilight follows the parallel paths of two sisters contending with an absent mother, unwanted pregnancy, and marital discord.

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Film Info

  • Japan
  • 1957
  • 141 minutes
  • Black & White
  • 1.33:1
  • Japanese

Available In

Collector's Set

Eclipse Series 3: Late Ozu

Eclipse 3: Late Ozu

DVD Box Set

5 Discs

$55.96

Tokyo Twilight
Cast
Setsuko Hara
Takako Numata
Ineko Arima
Akiko Sugiyama
Chishu Ryu
Shukichi Sugiyama
Isuzu Yamada
Kisako Soma
Teiji Takahashi
Noburo Kawaguchi
Masami Taura
Kenji Kimura
Haruko Sugimura
Shigeko Takeuchi
So Yamamura
Seki Sekiguchi
Credits
Director
Yasujiro Ozu
Screenplay
Yasujiro Ozu
Screenplay
Kogo Noda
Producer
Shizuo Yamauchi
Art direction
Tatsuo Hamada
Cinematography
Yuhara Atsuda
Music
Takanobu Saito
Editing
Yoshiyasu Hamamura

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Yasujiro Ozu

Writer, Director

Yasujiro Ozu
Yasujiro Ozu

Yasujiro Ozu has often been called the “most Japanese” of Japan’s great directors. From 1927, the year of his debut for Shochiku studios, to 1962, when, a year before his death at age sixty, he made his final film, Ozu consistently explored the rhythms and tensions of a country trying to reconcile modern and traditional values, especially as played out in relations between the generations. Though he is best known for his sobering 1953 masterpiece Tokyo Story, the apex of his portrayals of the changing Japanese family, Ozu began his career in the thirties, in a more comedic, though still socially astute, mode, with such films as I Was Born, But . . . and Dragnet Girl. He then gradually mastered the domestic drama during the war years and afterward, employing both physical humor, as in Good Morning, and distilled drama, as in Late Spring, Early Summer, and Floating Weeds. Though Ozu was discovered relatively late in the Western world, his trademark rigorous style—static shots, often from the vantage point of someone sitting low on a tatami mat; patient pacing; moments of transcendence as represented by the isolated beauty of everyday objects—has been enormously influential among directors seeking a cinema of economy and poetry.

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