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FLOATING
WEEDS
Ukikusa
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1959
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Color
. 119 minutes
Deiei Tokyo Studio
Written By
Ozu Yasujiro
Noda Kogo
Cinematography
Miyagawa Kazuo
Music By
Satio Kojun
Cast
Nakamura Ganjiro (Arashi Komajuro)
Kyo Machiko (Sumiko)
Wakao Ayako (Kayo)
Kawaguchi Hiroshi (Homma Kiyoshi)
Sugimura Haruko (Oyoshi)
Nozoe Hitomi (Aiko)
Ryu Chishu (Theater Owner)
Koji (Hideo)
Mitsui (Kichinosuke)
Tanaka Haruo (Yatazo)
Irie Yosuke (Sugiyama)
Hoshi Hikaru (Kimura)
Ushio Mantaro (Sentaro)
Urabe Kumeko (Shige)
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Synopsis
A kabuki troupe led by Komajuro Arashi comes to
a seaside town. He goes to see Oyoshi, a former
lover with whom he fathered a son, Kiyoshi, Komajuro
pretends to be Kiyoshi's uncle and strikes up
a friendship with him. Due to bad weather, few
come to see the kabuki and the troupe is faced
with disbanding. Oyoshi tentatively asks Komajuro
to stay, but his current mistress Sumiko finds
out and to get back at him, she pays a young performer,
Kayo, to seduce Kiyoshi. However the couple falls
in love and decides to get married. Komajuro tries
to intervene but when Kiyoshi finds out who he
really is, he spurns him. Dejected, Komajuro leaves
with Sumiko.
Thoughts from Ozu
The theme is a melancholy one, with the sensibility
of a bygone era. Although the setting is in the
present, it evokes the purity and spirit of antiquity
of the Meiji era. Some might propose that the
stage be bet simply in the Meiji era, but I didn't
think it was necessary. Turning this into a period
piece required an exhaustive amount of historical
research. Instead, this film became an experiment
in how to give life an old fashioned story in
a modern setting. The cinematographer Miyagawa
Kazuo went to great pains to achieve this. I finally
got the hang of filming in color. Different colors
require varying degrees of lighting: colors not
visible to the eye appear different after the
film is projected on film... it was only then
that I got to grips with these. In addition, cinemascope
was becoming more and more common, and while I
had no intention of using it, I consciously changed
my filming style to counter the wide screen. Of
course, rather than happening all at once, the
change took place step by step, barely noticeable
to myself. For instance, there were more close-ups
and cuts became more minutely detailed. In fact,
my recent works may boast the greatest number
of shots in Japanese cinema.
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Background
The
51st film, shot September to November 1959. It
has often been supposed that Ozu made this film
for Daiei in exchange for the actress Yamamoto
Fujiko, whom he had cast in Equinox Flower.
However, Daiei reciprocated with the actress Arima.
Actually, Ozu wanted to fulfill a promise he had
made to director Mizoguchi Kenji, who had died
three years ago. (In his late years, Mizoguchi
was an executive at Daiei.) This film is a remake
of the pre-war A Story of Floating Weeds.
Ozu wanted to make this film already in 1958,
using the title A Poor Actor (Daikon
yakusha), but the production was interrupted
because of scenarios of snow in the Niigate region.
The season was changed from winter to summer,
and the location to Wakayama region. The title
had to be changed too, since the main character
was played by an important kabuki actor from the
Kansai region, Nakamura Ganjiro (he had left the
stage temporarily to make films for Daiei), and
the projected title was too much an insult. This
is not only a film produced by Daiei, almost all
the actors belonged to Daiei too. Therefore the
cast for the Shochiku production A Poor Actor
changed considerably. Shindo Eitaro was to be
Arashi Komajuro, Sumiko was Yamada Isuzu, and
Kiyoshi was Taura Masami. Shindo belonged to Toei,
but Yamada, Arima and Taura all appeared in the
previous Tokyo Twilight, maybe to make
up for this unsatisfactory film. However, A
Poor Actor was interrupted. The following
Equinox Flower has yet another importance
in Ozu's work. The screenplay remained unchanged
(the play in the film changed from Chuji Kunisada
to a woman's swordplay), but there should be considerable
difference, due to the character of Nakamura Ganjiro
and the gorgeous Kyo Machiko, and also due to
the bright summer climate of the Wakayam region.
The melancholy that always accompanied wandering
far from Tokyo almost disappeared in this film.
Tokyo's centripetal force weakened considerably,
maybe also due to the change of Ozu's own places
of action. The cameraman Miyagawa Kazuo, who was
in charge of all films that Mizoguchi Kenji made
after the war for Daiei, often talked with Ozu
about the technique of color photography, and
Ozu learned a lot. In Good Morning, Ozu
seemed to play with color, but Floating Weeds
is unified in quiet color tones, but still persistent
in the red. One shot shows the lighthouse on the
beach, seen from the boat, in a slow movement.
This is the only traveling shot in Ozu's color
films.
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Articles
/ Essays
Stories
of Floating Weeds
by Donald Richie (Criterion)
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Personal
Thoughts and Comments
By 1959 Ozu had converted to making color films,
but he refused to fall into the conventions of
CinemaScope. Ozu preferred his rare and simplistic
filmmaking style. However, with Floating Weeds
he did get the legendary Japanese cinematographer
Kazuo Miyagawa (most known for his work with the
great Kenji Mizoguchi) to photograph the film.
It remains one of the only post-war films not
be shot by Yuuharu Atsuta and also one of the
few color films in which the camera moves. Visually
the film is stunning and breathtakingly rich and
detailed. Floating Weeds is a remake of
Ozu's 1934 silent film A Story of Floating
Weeds. While the storyline is alike, the biggest
difference between the film lies in the tone.
Both films handle the melodrama in different ways.
Floating Weeds is a compassionate at times visually
masterful film. Not everything works here but
there are some moments of humor and subtle poetry.
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"Pillow
Shots" |
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Opening
moments from Floating Weeds |
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