Floating Weeds

While this feels a bit slight for later Ozu, it's still a remarkable little film. The atmospheric shots of the fishing village are wondrous. The depth of field in his compositions is often surprising, with characters appearing or disappearing into passageways not always immediately visible. The characters are remarkably human, while Ozu's presentation is typically restrained. The film's easy pace masks the deep emotion running through the characters, but heightens the satisfying conclusion.

Impressive balance between a light comedic tone and emotionally heavy dramatic confrontations. I found the very ending to be beautifully bittersweet and hopeful, which I understand can be said about the majority of Ozu's films. But this had a nice sentiment about the resilient spirit of the artist that hits on a personal level.

If you feel related to Ozu characters the film becomes enjoyable. However this time there are too many characters and too many feelings. So it's impossible to build such bond here. Because most of the feelings (love, jealousy, regret, revenge etc.) are narrated vaguely.

My first Ozu!... I fell asleep twice.

If i put on my Critical Theory hat for a minute, i could discuss this film's potentially intriguing use of Arashi as a stand-in for traditional patriarchal Japanese society (and granted it is intriguing), or i could admit that, as always, i admire Ozu's aesthetic sensibilities more than i ever actually get out of his movies, emotionally or otherwise. Which is not to say i haven't tried, but i'm still waiting for that 'eureka' moment where it all clicks for me. This is, sad to say, not that film.

While no individual aspect stands out to me, this was pretty enjoyable on every level, with rich colours and very well crafted characters. Like other Ozu films, there are many bits of social commentary simmering under the surface, though little is made explicit and it works well with his style.

Enjoyable with a few noteworthy scenes and no flaws worth mentioning. Good domestic drama with light comic moments.

There's some very good stuff here -- especially the last 20 minutes -- but too much of the movie seemed to simply drift along, making absolutely no impression on me. It's not bad, it's just not for me.

There's nothing like the crystalline purity of Ozu's images. Perfectly constructed, down to the most fundamental elements of image-making. The story's pretty good too.

One of Roger Ebert's favorite movies, and he wrote about it beautifully and persuasively. Sadly, I can't quite agree with him. It's at its best in the quiet moments of everyday interactions, but there's too much broad humor (though the play scenes are quite funny--it seems mediocre regional theater is universal), melodrama, and kitsch. The music is kind of awful and doesn't quite fit--and there's a LOT of it: every time it would start up, I would expect to see canals and a Venetian gondola.

Ozu's self-remake is in many ways superior to the 1934 silent drama, which feels contrived by comparison. Performances exude a raw pathos unusual for the director, and his use of depth of field and color demonstrate mark a new visual frontier.

Ill, but I'd booked ticket. Hard to follow given the illness, and flitting between different troupe characters. Good colour and lovely cinematography. Seemed even slower-paced than Tokyo Story and Late Spring. A lot of common assault going on! And not very interesting plot?

The most melodramatic Ozu I’ve seen so far, with scheming and physical violence and all sorts! The central story is quite excellent, but I wasn’t so enamoured with the side stories of the other troupe members tryna fuck. Despite that it’s definitely one of my favourite Ozus so far, beautifully-shot and heartfelt.

I realize Ozu likes his films subtle but he's at his best here with melodramatic scenes full of energy, artistic angles, color, and flawed characters. This feels like the best Shakespearean comedy you haven't seen yet for the first hour.

A group of people lead complicated lives, eventually learning that a bit of understanding and forgiveness goes a long way. A gentle film offering a pleasingly sympathetic view of the way everyone is muddling their way through, even when they behave quite poorly indeed, and, as usual, a group of travelling players forms a good basis for a presentation of life as a tragicomedy, but the dialogue is sometimes lacking. Ends in true Japanese style with an evening train slowly moving away from camera.

Although this was better looking than the 34 version the pacing was much better in the original. All the characters had a bit of depth but not a lot. The ending was quite sad in my opinion. The acting was solid and the look of the film was very nostalgic and comforting.

This was around the same as most Ozu for me--good but not mindblowing. I like every movie I see from him, but the only one that has really taken my breath away was Tokyo Story. The color photography is really pretty, though.

No, this one definitely has too much talking (and too little feeling) for my taste.

Is it too cliche to say I like the original better than the remake? In the 1934 version, we see the theatre troupe and suspect they are not top-rate; the 1959 version eliminates the rain-dripping-on-the-stage scene that indicates the itinerant players can't even fill a second-rate theatre. That said, there are a few Ozu regulars here, and the beautiful color makes you notice a few background things during the slower spots (in an Ozu film, that's often).

Maratona em honra de Machiko Kyō (1924 — 2019) filme #1 - Ozu. Nessa maratona assistirei ao menos um filme de cada grande diretor com quem ela trabalhou. Quem me perdoem os filmes branco e preto do Ozu, mas cada fotograma do Ozu colorido é uma pintura. Conflito geracional esteticamente mais belo do que nunca. Box o Cinema de Ozu Volume 2.

87.50

Ozu has such a good sense of humour. One of the few AUTUER directors that can say that. He's actually really funny. This one is brutal too. The Colours POP in this holy. Whatever word you wanna use to describe it that's been used a million times to describe ozu probably ain't enough.

(...)Ozu ist für mich der Japanischste aller Filmemacher. Er probierte sein Material immer und immer wieder, verfeinerte es, variierte es - immer behielt er dabei seinen eigenen Stil bei. Ganz so wie die alten Meister bildender Kunst in Japan. Neuland zu betreten war nichts für Ozu, wohl aber die immer wieder neue Gestaltung eines Themas. Obwohl seine Filme so weit entfernt von uns spielen, können wir doch auf die eine oder andere Weise alle Menschen, die wir kennen, darin wieder erkennen.

Pretty much epitomizes all of Ozu's many strengths: elegant cinematography, gripping melodrama, light humor, an intricate ensemble-based narrative, and themes of generational struggle. Unlike his best films which typically perfect just a few of these qualities, Floating Weeds does all of them quite well. The film's gradual transition from somewhat frivolous romantic comedy to sentimental melodrama is particularly masterful; Ozu is one of the few who can do both with equal grace.

Star Rating: ★★★★1/2

Ayako Wakao

Remake of Ozu's own 1934 silent; I watched them back-to-back and although I generally prefer later Ozu, in this case the earlier work wins out. One reason is probably that the male lead, while flawed in both films, becomes downright unlikable in this one. Additionally, while I admire the restrained formalism of late Ozu, I was really taken by the more poetic approach of the silent. The two fishing scenes really illustrate the striking difference in approach between the two films.

A calm and relaxing film with an incredible delicacy, which both supports and detracts from the film. Though this mood is easy to slide into, it also seems to make this film rather monotonous, especially with the consistently static shots and some stilted acting.

Yasujiro Ozu #5

89.000

Ozu's first color film is a reimagining of his 1934 silent classic "A Story of Floating Weeds." He uses sound and color to add further depth to his tale of fragile human emotions and changing values within Japanese society. In the time lapsed between the silent era and this remake, one can see how truly remarkable Ozu's compositions have become. His shots have become half stage play/half voyeurism, showing restraint while still pulling us into the corner to watch his subjects in joy and despair.

watched: 2011, 2024

All of Ozu's films are about exposing the underlying emotions and imperfections beneath a conformist Japanese society. In this he explores a band of ne'er do well performers who live on the outskirts of respectability. Their very lifestyle clashes with Japan's social structure but their transient relationship with society means they form their own unique family and worldview. As usual Ozu creates a wonderfully shot depiction of small time village life in a bygone post-war era.

Superior to the original.

Apart from some intimate images, it didn't excite me in any way.