Synonyms for chishū_ryū or Related words with chishū_ryū
Examples of "chishū_ryū"
has a small role towards the end of the film as a fellow passenger on board a ship.
In the Wim Wenders documentary film "Tokyo-Ga", the director travels to Japan to explore the world of Ozu, interviewing both
and Yuharu Atsuta.
Army (陸軍 "Rikugun") is a 1944 Japanese film directed by Keisuke Kinoshita and starring
and Kinuyo Tanaka. It is best known for its final scene, which Japanese World War II censors found troubling.
Noriko (Setsuko Hara), a secretary in Tokyo, lives in the extended Mamiya family at Kamakura, Kanagawa, which includes her parents Shūkichi and Shige (Ichirō Sugai and Chieko Higashiyama), her older brother Kōichi (
), a physician, his wife Fumiko (Kuniko Miyake), and their two young sons Minoru (Zen Murase) and Isamu (Isao Shirosawa).
A retired couple, Shūkichi and Tomi Hirayama (played by
and Chieko Higashiyama respectively) live in the town of Onomichi in southwest Japan with their daughter Kyōko (played by Kyōko Kagawa). They have five adult children, four living. The couple travel to Tokyo to visit their son, daughter, and widowed daughter-in-law.
Ganjirō Nakamura plays the patriarch of the Kohayagawa family, who runs a sake brewery company. Setsuko Hara, Michiyo Aratama and Yoko Tsukasa play his daughters.
, a long-time collaborator of Ozu, has a small cameo as a farmer towards the end of the film. Most of the action takes place in Kyoto.
Ryū retained the rural Kumamoto accent of his childhood throughout his life. It may have held him back early in his career, but became part of his screen persona, denoting reliability and simple honesty. When the columnist Natsuhiko Yamamoto published a deliberately provocative piece called "I Can't Stand
", in which he derided Ryū's accent, there was a furious reaction, and his magazine "Shūkan Shinchō" (週刊新潮) was inundated with letters of protest.
Tokyo-Ga is a 1985 documentary film (shot in spring 1983) directed by Wim Wenders ostensibly about filmmaker Yasujirō Ozu. The film ranges from explicit focus on Ozu's filmmaking—Wenders interviews Ozu’s regular cinematographer, Yuharu Atsuta, and one of Ozu’s favorite actors,
—to scenes of contemporary Tokyo such as pachinko and plastic food displays. Wenders introduces the film as a "diary on film." It was screened in the Un Certain Regard section at the 1985 Cannes Film Festival.
The film starts in the rural town of Shinshū in 1923. A widow, Tsune (O-Tsune) Nonomiya (Chōko Iida), works hard at a silk production factory to provide for her only son, Ryōsuke. When Ryōsuke's teacher Ōkubo (
) persuades her to let her son continue to study beyond elementary school, she decides to support her son's education even until college. Her son promises to become a great man.
The film is set in the Meiji period. The story tells of the forbidden romance between teenaged cousins Masao and Tamiko. The lovers were also inhibited by a marriage arranged by her family for Tamiko and Masao needing to go away to school. The story is essentially a flashback as remembered by the 73-year-old Masao, played by
, as he rides a boat back to his home village where they first fell in love.
Shuhei Horikawa (
) works as a mathematics schoolteacher in a middle school. A widower, he has a ten-year-old son named Ryohei (Haruhiko Tsuda), who studies in the same school. While taking his class out for an excursion one day, one of his pupils drowns after running off with a classmate on a secret boat trip. Shuhei blames himself for the accident, and quits his teaching job out of remorse.
Stuart Galbraith IV writes that "Tora-san's Dear Old Home" is a "typically fine early entry in the series' run", which shows Yamada and Atsumi still experimenting with the Tora-san character and stories. Galbraith singles out Yamada's portrayal of "fleeting friendships" in this film, pointing out, "Yamada's camera lingers on little details, especially the sadness of departing trains and the pain of saying goodbye." He points out that the film is also very funny, with
performing an especially humorous scene as the Buddhist priest. The German-language site molodezhnaja gives "Tora-san's Dear Old Home" four out of five stars.
Wataru Hirayama (Shin Saburi) is a wealthy Tokyo businessman. When an old schoolmate Mikami (
) approaches him for help concerning his daughter Fumiko (Yoshiko Kuga), who has run off owing to a conflict with her father, he agrees. Finding her in a bar where she now works, he listens to her side of the story. Fumiko complains that her father is stubborn, insisting on arranging her marriage, whereas she has now fallen in love with a musician and is adamant to lead life her own way.
), Tamekichi (Reikichi Kawamura), and O-tane (Chōko Iida) are among the residents of a poor district of Tokyo that has been severely damaged in the bombing raids of 1944-45. They live on the economic margins of a society devastated by years of war: Tashiro is a street fortune teller, Tamekichi mends pots and pans and also buys and sells whatever he can get hold of, and O-tane is a widow who sells what odds and ends she can obtain.
As a result of this, the young boys of the Hayashi family, Minoru and Isamu, pressure their mother to buy them a television set, but their mother refuses. When their father (
) comes to know about it, he asks the boys to keep quiet when they kick a tantrum. Minoru throws an anger fit, and states that adults always engage in pointless niceties like "good morning" and refuse to say exactly what they mean. Back in their room, Minoru and Isamu decide on a silence strike against all adults. The first neighbor to bear the brunt of this snub is Mrs Haraguchi.
Shūhei Hirayama (
) is an ageing widower with a 32-year-old married son; Kōichi (Keiji Sada), and two unmarried children; 24-year-old daughter Michiko (Shima Iwashita) and 21-year-old son Kazuo (Shin'ichirō Mikami). The ages of the children and what they respectively remember about their mother suggests that she died just before the end of the war, perhaps in the bombing of Tokyo in 1944-45. Since his marriage, Kōichi has moved out to live with his wife in a small flat, leaving Hirayama and Kazuo to be looked after by Michiko.
Ozu's films from the late 1940s onward were favourably received, and the entries in the so-called "Noriko trilogy" (starring Setsuko Hara) of "Late Spring" (1949), "Early Summer" (1951), and "Tokyo Story" (1953) are among his best-reviewed works, with "Tokyo Story" considered his masterpiece. These three films were followed by his first colour film "Equinox Flower" in 1958, "Floating Weeds" in 1959, and "Late Autumn" in 1960. In addition to Noda, other regular collaborators included cinematographer Yuharu Atsuta, and the actors
, Setsuko Hara, and Haruko Sugimura.
Sadao persuades a friend on the university rowing team, Hattori (
), to leave the whorehouse in which he has been living. He asks Chieko for a loan to pay Hattori's debts but then discovers that Chieko has asked Kosaku to cancel an expensive trip he had been planning. Sadao tries to return the loan, but Chieko refuses it, so he instead gives the money to Kosaku to pay for his trip. At first, Chieko resists, but when the sons point out that she always treats Sadao more favorably than Kosaku, she relents.
Akiko Sugiyama (Ineko Arima) is a college student learning English shorthand. Her elder sister Takako (Setsuko Hara), running away from an unhappy marriage, has returned home to stay with Akiko and their father Shukichi (
) in Tokyo, together with her toddler girl. Shukichi works in a bank in Tokyo. Akiko has a relationship with her college boyfriend Kenji (Masami Taura), which results in an unwanted pregnancy. Later, Akiko has an abortion, after an encounter in which she realizes that her boyfriend does not love her.
Shuichi confides his troubles to his colleague, Satake (
). Satake promises to do his best to help the girl, and advises Shuichi to forgive his wife. But Shuichi states that he simply cannot help getting upset over Tokiko's act. When he returns home, Tokiko tries desperately to placate him and apologizes repeatedly over her mistake, but Shuichi treats her brutally and violently, throwing her down a flight of stairs accidentally by force. When he realizes she is hurt, he begins to get a grip over himself. An injured Tokiko limps back up the room and tries further to reconcile with Shuichi, who confesses that he too is in the wrong. They finally embrace each other desperately and promise to forget everything and start anew, relying on each other for their ultimate support.
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