Silent . Black and White . 86 minutes

Shochiku Kamata Studio

Written By
Ozu Yasujiro ('James Maki')
Ikeda Tadao

Cinematography
Mohara Hideo

Cast
Sakamoto Takeshi (Kihachi)
Iida Choko (Otsune)
Mitsui Hideo (Shinkichi)
Yagumo Rieko (Otaka)
Tsubouchi Yoshiko (Otoki)
Kozo Tokkan (Tomibo)
Tani Reiko (Tomibo's Father)

Synopsis
An itinerant kabuki troupe, led by aging actor Kihachi, arrives in a small town. He frequents the local cafe owner, who is an old flame, and with whom he fathered a son. Shinkinchi's jealous mistress Otaka pays a young actress in the troupe to seduce Shinkichi, but the young pair fall in love. When Kihachi finds out, he throws a fit. When Shinkichi discovers Kihachi's true identity, he cannot forgive him. Meanwhile, the troupe suffers a loss and is disbanded. Kihachi embarks on an unknown future with Otaka.

Thoughts from Ozu
This is a film that went down well. Although some termed this my "Kihachi Series", I disagree because men named Kihachi tend to have the same traits. At that time, everyone around me was making talkies, while I hung onto silents. Still, since 1932, for three years running, my silents including this film, were selected Best Film by Kinema Junpo magazine. However, I wasn't to lucky the next year.

Personal Thoughts and Comments
Repeat viewings of A Story of Floating Weeds has really given me greater appreciation of it. I initially considered it one of my least favorite Ozu films, but have grown to appreciate the film as one of his pivotal achievements of his silent period. The film does mark a key movement that would later define his mastery. A Story of Floating Weeds is one of the earliest to examine not only the family, but the disappointment or deconstruction of the Japanese family. This would be a theme that would become definitive throughout his career. A Story of Floating Weeds is among Ozu's more melodramatic films, yet the melodrama is presented with irony and realism through Ozu's essential focus of character over plot. Everything comes together beautifully as Ozu sets up the emotional expectations before quickly changing them again to capture a realistic emotional response and the authentic feelings and cycle of living. For that the film is successful and remains and interesting early achievement of Ozu's career. However more then just its influence, the film embodies Ozu mastery way of taking a simple melodramatic narrative and subtly transforming it into something deeper and even more spiritual. By “floating” along the landscapes of Japan and through simple and quiet little details, Ozu transforms the film into one of feeling- a feeling that is both happy and tragic.