Dragnet Girl (Yasujiro Ozu, 1933)

Kinuyo Tanaka in Dragnet Girl

Tokiko: Kinuyo Tanaka
Joji: Joji Oka
Kazuko: Sumiko Mizukubo
Hiroshi: Koji Mitsui
Misako: Yumeko Aizome
Senko: Yoshio Takayama
Misawa: Koji Kaga
Okazaki: Yasuo Nanjo

Director: Yasujiro Ozu
Screenplay: Tadao Ikeda
Based on a story by Yasujiro Ozu (as James Maki)
Cinematography: Hideo Shigehara
Art direction: Yonekazu Wakita

Yasujiro Ozu clung to silent film for a long time, but who needs sound when you and your cinematographer, Hideo Shigehara, can use the camera as eloquently as they do in Dragnet Girl? Early in the film, the camera explores an office setting, panning over rows of young women at typewriters, clocks slowly ticking away the workday, and rows of men's hats hanging in a hallway. In the last take, one of the hats drops from its hook, as if impatient for quitting time. One of the typists, Tokiko, is summoned from her machine to the office of the president, where she finds his son, Okazaki, who has been putting the moves on her by giving her jewelry, this time a ruby ring. She shrugs off his advances but accepts the ring -- she's living with a gangster, an ex-boxer named Joji, and it's his world that she prefers. This is one of Ozu's forays into the underworld made familiar to us by Hollywood, and it's permeated with echoes of Warner Bros. movies of the 1930s. American culture creeps in everywhere: Even the rules of conduct in a pool hall are written in English on the wall, and in the boxing gym that Joji frequents a sign proclaims the virtues of "The Manly Art of Self-Defense." When an eager young kid named Hiroshi shows up in the gym wanting to become a champion fighter, Joji takes an interest in him, and through him meets his sister, Kazuko, who works in a record store that prominently features the RCA Victor mascot, Nipper. Tokiko gets jealous of Joji's interest in Kazuko, but when she decides to emulate her rival by taking up knitting and other domestic pursuits, she and Joji quarrel. She storms out, but later returns to persuade Joji that it might be a good thing to go straight. Things get complicated, however, when Hiroshi, Joji's protégé, steals money from the cash register at his sister's store. Joji persuades Tokiko that they should pull off one last heist, robbing from the office where Tokiko works to get cash so Hiroshi can pay back what he stole. Ah, but crime does not pay. All of this melodramatic business is elevated not only by Ozu's sure-footed direction and attention to visual detail but also by the performances, especially that of  Kinuyo Tanaka, who once again shows why she should be honored as one of the great film actresses. She has Bette Davis's toughness combined with Lillian Gish's gift for pathos.

Walk Cheerfully (Yasujiro Ozu, 1930)

Minoru Takada and Hisao Yoshitani in Walk Cheerfully

Kenji Koyama: Minoru Takada
Yasue Sugimoto: Hiroko Kawasaki
Senko: Hisao Yoshitani
Chieko: Satoko Date
Ono: Takeshi Sakamoto
Gunpei: Teruo Mori
Yasue's Sister: Nobuko Matsuzono
Mother: Utako Suzuki

Director: Yasujiro Ozu
Screenplay: Tadao Ikeda
Based on a story by Hiroshi Shimizu
Cinematography: Hideo Shigehara
Set decoration: Hiroshi Mizutani

The English titles of Yasujiro Ozu's films are typically oblique, ranging from the atmospheric but uninformative -- Late Spring (1949),  Early Summer (1951) -- to the proverbial or epigrammatic (but only in Japanese) -- The Flavor of Green Tea Over Rice (1952), A Hen in the Wind (1958) -- to the simply mistranslated -- Record of a Tenement Gentleman (1947). The title of Walk Cheerfully would seem to be similarly somewhat aside of the mark for what started as a gangster movie, but at least the phrase appears in an intertitle in the film as the parting advice given by Yasue to Kenji as he's being taken away by the police -- she seems to mean it somewhat in the spirit of "take care." The film itself is a curious blend of gangster film and romance. In fact, the work it reminded me of sometimes was Frank Loesser's musical Guys and Dolls, which has a similar theme of a shady guy being redeemed by a good girl. The analogy leaped to mind when some of Ozu's gangsters did synchronized routines and gag soft-shoe dances in the pool hall where they meet. For these are not hard-core American gangsters or even murderous yakuza; they're small-time pickpockets and thieves. We meet our hero, Kenji, while he's still a thug known as "Ken the Knife" for the tattoo on his left forearm. The movie begins with a chase: Kenji's sidekick, Senko, being pursued by a mob who think he has stolen a man's wallet. When the mob catches up with Senko, Kenji appears out of the crowd and suggests that they search him for the wallet. Nothing turns up, so Senko goes free, but later we see them meet up and discover that they're in cahoots: Kenji has picked the wallet from Senko as the mob was roughing him up. Eventually, however, both Kenji and Senko try to go straight when Kenji meets and falls in love with Yasue. When they first see her, they think Yasue is a rich woman: She arrives at a jewelry store in a large car and goes in to buy a diamond ring. But it turns out that she's running an errand for her boss, the head of the Ono Trading Co., who puts the moves on her when she brings it to him. Eventually, after Kenji and Yasue meet up again and he learns the truth, that she's just an office worker, he will have an opportunity to beat up Ono for sexually harassing Yasue. This is very minor Ozu, but he handles it well, demonstrating not only his skill at telling a story but also the way American movies influenced him: On the wall at Ono Trading Co. there's a poster for Joan Crawford's Our Dancing Daughters (Harry Beaumont, 1928). Movies, big cars, and pop music -- Senko has written the English lyrics to the 1928 song "The Gay Caballero" on the wall of the room he shares with Kenji and is trying to learn them -- figure large with these very modern Japanese gangsters.

Where Now Are the Dreams of Youth? (Yasujiro Ozu, 1932)

Kinuyo Tanaka and Ureo Egawa in Where Now Are the Dreams of Youth?

Like his I Flunked, But.... (1930), Yasujiro Ozu's Where Now Are the Dreams of Youth? is a silent comedy about college boys and their life after graduating (or not graduating), featuring some of the same cast members and some of the same opportunities for comedy: a pep squad training, elaborate attempts to cheat on exams, and so on. This time there's a group of four students, centering on the richest one: Tetsuo (Ureo Egawa), whose father is president of an import-export company. Tetsuo and his buddies are all in love with the pretty Shigeko (Kinuyo Tanaka), who works for a local bakery and delivers bread and cakes to the campus. During an exam, in which all four are industriously trying to cheat, Tetsuo receives word that his father has fallen ill. When his father dies, Tetsuo leaves college to assume the presidency of the company -- which is in fact run by its vice-president, Tetsuo's uncle, who keeps trying to find a wife for Tetsuo, none of whom matches up to Shigeko in Tetsuo's opinion. Meanwhile, Tetsuo's buddies have flunked out, and they come to him looking for employment. They have to pass a company exam, but Tetsuo slips them the answers to the questions. Then one day, out in his chauffeured limousine with his uncle's latest choice for his wife, Tetsuo spots Shigeko with a cart with all her belongings: The bakery has closed, and she is moving to a new apartment. He sends the potential bride away in a huff, gives Shigeko a lift, and offers her a job at the company. He tells his buddies that he is going to marry Shigeko, not knowing that she has already promised to marry one of them, Saiki (Tatsuo Saito). When Tetsuo announces this, however, Saiki, who is the sole support of his mother, says nothing because he's afraid he'll lose his job, and even congratulates Tetsuo. When he learns the truth, from no less than Saiki's mother, Tetsuo angrily attacks Saiki, but he also recognizes that the real problem is social inequality, and the film ends with the Tetsuo and the remaining buddies, Kumada (Kenji Oyama) and Shimazaki (Chishu Ryu), waving goodbye to Saiki and Shigeko as they set off on their honeymoon. It's a warm-hearted movie that makes a smooth transition from slapstick to sentiment, while also scoring some points against tradition and the class system. The screenplay is by Ozu's usual collaborator, Kogo Noda, and the cinematography by Hideo Shigehara.

Passing Fancy (Yasujiro Ozu, 1933)

Den Obinata and Takeshi Sakamoto in Passing Fancy

In Passing Fancy we can see Yasujiro Ozu edging, however reluctantly, toward sound. For a silent movie it has an extraordinary number of intertitles, reflecting a stronger reliance on dialogue to carry the story and the relationships of the characters. Ozu even departs from convention on occasion to show a title card before the character has spoken the line. The film also shows more of the development of Ozu's personal style as a director than some of his contemporary silent films do: There's a greater reliance on low-angle camerawork, his so-called "tatami shots," and a more frequent use of shots of streets and buildings that don't necessarily carry information about the plot and characters but serve as something like "chapter breaks" in the narrative. But film technique aside, Passing Fancy would be remembered as one of Ozu's most charming early films. Takeshi Sakamoto plays Kihachi -- a character name the actor would retain in other films by Ozu, including A Story of Floating Weeds (1934) and An Inn in Tokyo (1935). The several characters are discrete from one another, although the Kihachi in Passing Fancy bears some resemblance to the one in An Inn in Tokyo in that they are both single parents of a son played by the marvelous child actor Tomio Aoki. (If you're not confused yet, let me also add that in Passing Fancy Aoki is billed as "Tokkan Kozo," the title of a 1929 Ozu short film based on O. Henry's "The Ransom of Red Chief" in which Aoki appeared. Oh, and that in Passing Fancy, the character is named Tomio.) Anyway, Kihachi and Tomio share rundown lodgings with Jiro (Den Obinata), who works with Kihachi in a brewery. Tomio is a good student, and he's a bit embarrassed by his illiterate and occasionally drunken father. One night, Kihachi and Jiro encounter a young woman, Harue (Nobuko Fushimi), who has just been fired from her job and is looking for a place to stay. Jiro is suspicious that Harue is "no better than she ought to be," as the saying goes, but Kihachi is smitten with her and arranges for her to live with and work for Otome (Choko Iida), a woman who owns a neighborhood bar-restaurant. Kihachi begins to spruce himself up to woo Harue, but she's more attracted to the younger and handsomer Jiro. Eventually, Otome persuades Kihachi that he's too old for Harue and that he should try to get Jiro to return her affections. Then Tomio falls ill and, following the familiar sick-child motif of many Japanese films in the 1930s, Kihachi is pressed to find a way to pay the doctor bills. Ozu's generous humor and genuine affection for his characters suffuses the film, and the splendid rapport of Sakamoto and Aoki as actors provides a special insight into the often volatile father-son relationship. There's a wonderful scene, for example, in which Kihachi slaps Tomio once too often and the boy turns around and begins to pummel his father, who submits, resulting in a deeper understanding between them. The screenplay is by Tadao Ikeda, from a story by Ozu under his pseudonym James Maki. The cinematographers are Hideo Shigehara and Shojiro Sugimoto.

Three Silent Films by Ozu

Yasujiro Ozu

That Night's Wife (Yasujiro Ozu, 1930)
I Flunked, But.... (Ozu, 1930)
Tokyo Chorus (Ozu, 1931)

I think the films of Yasujiro Ozu are the perfect exemplar of that powerful task of motion pictures: to enlarge human sympathies. Ozu typically does it by working in his characteristic milieu: the family. Most of us have families, and when we don't (or when we recognize intolerable flaws in the ones we find ourselves in), we form something to substitute for them: clubs, cliques, fraternities, political parties. These three silent movies, lesser or little-known parts of Ozu's oeuvre, shine with their director's deep understanding of human connections. They also document the impact of the Great Depression, not just on Japan but on daily lives around the world. Two of them are about actual nuclear families, the other about a kind of surrogate family. They range from crime melodrama to slapstick comedy to a domestic drama threaded through with humor. All of them reveal Ozu's knowledge of American genre film as well as his ability to transform the generic into the personal.

Emiko Yagumo and Tokihiko Okada in That Night's Wife

That Night's Wife begins with a touch of gangster film as we watch the police patrolling the nighttime streets, rousting a homeless man from his perch between the towering columns of a building, then witness a daring robbery of an office by a man masked with a bandanna and the police pursuit that follows. But we gradually learn that the man (Tokihiko Okada) has committed the robbery because he has a sick child and can't pay the doctor. Most of the film takes place in his small apartment, where his wife (Emiko Yagumo) is tending to the child, who the doctor says will be all right if she survives the night. Then a detective (Togo Yamamoto), who has posed as a cab driver and brought the man home, arrives. There's a standoff between the couple and the detective in which, after trying to stay awake all night, the detective prevails. But the film ends with an unexpected turn that in other hands might come off as sheer sentimentality but in Ozu's manages to feel like the working out of an ethical dilemma.

Tatsuo Saito in I Flunked, But....

 I Flunked, But.... is almost a tonal antithesis to That Night's Wife, a lively comedy about college students trying to pass their college exams by cheating. It centers on a group of five who live together as a surrogate family, looked over by their landlady (Kaoru Futaba), a pretty waitress (Kinuyo Tanaka) in the next-door cafe, and the landlady's small son (Tomio Aoki). One of the techniques they use to cheat is to have one of the group write out the answers on the back of his shirt: that way, the student sitting behind him can lift up the other's jacket and copy what's written. Unfortunately, the landlady picks up the cheat shirt with the other laundry and the plot is foiled. Moreover, Takahashi (Tatsuo Saito), the student chosen to wear the shirt, is the only one who fails the exam. But it turns out a year later that the others who graduated have been unable to find jobs, so Takahashi is no worse off than they. Just as That Night's Wife displayed the influence of American gangster films, I Flunked, But.... shows that Ozu had seen American films about college students, like Harold Lloyd's The Freshman (Fred C. Newmeyer and Sam Taylor, 1925). Ozu's college students hang banners from American universities like Michigan and Yale on their walls, along with American movie posters -- which are also a striking presence on the walls of the couple in That Night's Wife, whose protagonist seems to be an artist of some sort. But I Flunked, But.... is most notable for the sense of camaraderie among its students, who practice their own brand of silly walks and comic dances.

Tokihiko Okada in Tokyo Chorus

Tokyo Chorus is the most subtle and complex of the three films, and it serves as a kind of unintended linking of the other two: It begins with a group of college students gathering to rehearse some kind of drill routine under the direction of a teacher, Mr. Omura (Tatsuo Saito, again). It's a rebellious group, and one of the ringleaders is Shinji (Tokihiko Okada, again). Some years later, we find Shinji as the father of three small children, the oldest of whom, a boy (Hideo Sugawara), demands a bicycle for his birthday. (Children in Ozu's films are often bossy little brats.) But Shinji has a quixotic streak, and when he learns that one of his fellow employees, a man just a year away from retirement, has been fired, he confronts the boss and gets fired, too. (There is a very funny scene in which Shinji and the boss angrily poke at each other with folding fans.) Things go from bad to worse for Shinji's family -- his wife (Emiko Yagumo, again) is upset when he has to sell her kimonos to pay hospital bills after their daughter gets sick. The Depression has deepened -- there is an English subtitle that refers to the failure of  "Hoover's policies," which makes me wonder if that was an exact translation. One day, after a disappointing visit to the employment office, Shinji runs into Mr. Omura, who has quit teaching and now runs a restaurant, The Calorie Café, which serves large, filling portions of curry rice. If Shinji will come help him at the restaurant, Omura says, he'll use his connections with the Department of Education to try to find Shinji a job. Shinji's wife is shocked to find her husband walking the streets with a large banner and handing out leaflets advertising the café, but when she realizes how desperate he has become, she too agrees to help out at the restaurant. All ends well when Omura's old students gather for dinner at the Calorie Café and Omura reveals that he has come through with a job for Shinji. It means that Shinji and his family will have to move to a remote corner of Japan, but they reassure themselves that they'll be able to return to Tokyo some day. The film, like That Night's Wife, was made with two of Ozu's frequent collaborators, screenwriter Kogo Noda and cinematographer Hideo Shigehara. (I Flunked, But.... was filmed by Shigehara but written by Ozu and Akira Fushimi.)

An Inn in Tokyo (Yasujiro Ozu, 1935)

Takeshi Sakamoto and Tomio Aoki in An Inn in Tokyo

Kihachi: Takeshi Sakamoto
Otaka: Yoshiko Okada
Otsune: Choko Iida
Zenko: Tomio Aoki
Kuniko: Kazuko Ojima
Policeman: Chishu Ryu
Masako: Takayuki Suematsu

Director: Yasujiro Ozu
Screenplay: Masao Arata, Tadao Ikeda, Yasujiro Ozu
Cinematography: Hideo Shigehara

Does any filmmaker have a clearer, less sentimental view of the moral conundrum of childhood than Yasujiro Ozu? We tend to think that because children are innocent they are naturally good, when in fact their egotism leads them into trouble. In Ozu's I Was Born, But... (1932) and Good Morning (1959), the naive self-centeredness of children causes problems both for them and for their middle-class parents. Much the same thing happens in An Inn in Tokyo, one of Ozu's late silent films, but the consequences are more serious. Kihachi is a single father down on his luck, trudging the road through an industrial district in search of work, accompanied by his two small sons, Zenko and Masako. Kihachi is a loving father -- there's a wonderful scene in which he pretends to be drinking sake that Zenko is serving him, after which the boys pretend to eat the food they can't afford -- but perhaps a little too indulgent. The boys capture stray dogs which they turn in to the police because there's a small reward, part of a rabies-control effort. But when Zenko collects the reward, he spends it on a cap he has wanted, instead of the food and shelter they need. Later, when Kihachi goes to a job interview, he tells them to wait for him by the side of the road with the small bundle that contains all of their possessions. But after a while they decide to follow him, and squabble over which one is to carry the bundle. Zenko takes off, leaving his younger brother behind, but Masako abandons the bundle, and when they go back to retrieve it, it's gone. And when they are left with only enough money for either food or lodging for the night, Kihachi unwisely leaves the decision up to the boys, who naturally choose the immediate gratification of food -- leaving them out in the cold when it starts to rain. The film is often compared to the neo-realist films of Vittorio De Sica that were made more than a decade later, and it has the same graceful sensitivity to the plight of the underclass that De Sica's Bicycle Thieves (1948) demonstrates. Life improves for a while for Kihachi and the boys when he meets an old friend who helps him get a job. But in the end he is undone by his own kindness: He has met a young woman with a small daughter on the road, and when the little girl falls ill with dysentery, Kihachi resorts to theft in order to help her pay the hospital bills. In a heartbreaking ending, he turns himself in to the police. The performances are quietly marvelous, and while the existing restored print still shows the ravages of time, it's still possible to appreciate the cinematography of Hideo Shigehara, who collaborated frequently with Ozu in the pre-War period.

I Was Born, But.... (Yasujiro Ozu, 1932)

Hideo Sugawara, Seiichi Kato, and Tomio Aoki in I Was Born, But....

The family was source and inspiration for many of Ozu's greatest films, but he often focused on the problems caused by the elders in a family, as in Tokyo Story (1953) and The End of Summer (1961). The family is supposedly the basic element in society, but Ozu's films often show how society itself strains familial relationships: In those films and others by Ozu, elders who have outgrown their usefulness can become obstacles to a family's ongoing concerns about fitting into and making a way in the larger society. I Was Born, But.... turns things around by focusing on children, whose self-centeredness can be as troublesome to the family dynamic as that of the very old. Ozu's films are about expectations that can never be quite fulfilled, and in no part of life are expectations more important than childhood. That makes the film sound more grimly serious than it is, for on the surface I Was Born looks an awful lot like American-style comic films about kids -- the Our Gang and Little Rascals comedies, for example. It focuses on Ryoichi (Hideo Sugawara) and his younger brother, Keiji (Tomio Aoki), who have just moved to the suburbs with their father, Yoshi (Tatsuo Saito), and mother, Haha (Mitsuko Yoshikawa). The boys are unhappy with the move, partly because the local kids bully them as newcomers, but also because Ryoichi in particular resents Yoshi's expectations that he'll get high marks in school. Eventually, after playing hooky and being scolded, they begin to adjust, and Ozu's picture of boyhood becomes lighter and more amusing. We see them adapting to their new corner of society: They overcome the bullies and make friends with Taro (Seiichi Kato), who just happens to be the son of Yoshi's boss. But then Taro lets them come over to his house on an evening when his father is showing home movies to Yoshi and some other employees, and Ryoichi and Keiji are embarrassed when some of the films show their father making funny faces and clowning for the boss and co-workers. It's an eye-opener for Ryoichi especially, who becomes aware of his father's place in the corporate hierarchy. Back home, he demands to know why his father isn't a corporate executive instead of a middle manager, and Yoshi is hard-pressed to explain this particular fact of life. The boys pitch a tantrum -- Keiji always following his older brother's lead -- and Yoshi spanks Ryoichi, only making matters worse. By the film's end, the boys and their parents have reconciled, but one senses that everyone has learned one of those lessons that only life can teach. I Was Born, But.... is one of Ozu's late silent films, and it's masterly in provoking serious thought about a near-universal experience while being engagingly entertaining. It's also very much of its pre-World War II time. Perhaps only in hindsight do audiences notice the hints of Japanese militarism in the story: the military-style drills that the small boys undergo at school, and the fact that when Yoshi asks his sons what they want to do when they grow up, they want to be generals. The performances of the young actors are extraordinary, as is the cinematography of Hideo Shigehara.

A Story of Floating Weeds (Yasujiro Ozu, 1934)

Tomio Aoki in A Story of Floating Weeds

Kihachi: Takeshi Sakamoto
Otsune: Choko Iida
Shinkichi: Koji Mitsui
Otaka: Rieko Yagumo
Otoki: Yoshiko Tsubouchi
Tomi-boh: Tomio Aoki
Tomibo's Father: Reiko Tani

Director: Yasujiro Ozu
Screenplay: Tadao Ikeda, Yasujiro Ozu
Cinematography: Hideo Shigehara
Art direction: Tatsuo Hamada

This is the first, silent version of a film that Ozu remade with sound and in color in 1959, when it was released as Floating Weeds. Yes, 1934 is late to be making silent films, but Ozu was following the lead of the Japanese film industry, which didn't switch to sound until 1931 -- and Ozu waited till 1936 to make a talkie. It's the story (written by Tadao Ikeda and Ozu himself under his pseudonym James Maki) of Kihachi Ichikawa, the head of a troupe of traveling players who find themselves in a village where Kihachi has a former mistress, Otsune, with whom he had a son, Shinkichi. The now almost-grown son has always known Kihachi as "Uncle," because Kihachi has kept his parentage secret, not wanting him to follow in his footsteps as an actor. But when Otaka, an actress in the troupe and Kihachi's most recent mistress, discovers the secret, she decides to take revenge by asking a younger actress, Otoki, to seduce Shinkichi. The revenge backfires when Otoki falls in love with the young man. As usual, Ozu's sympathetic view of human relationships carries the film, giving depth to the somewhat slight story. And the glimpses of the world of the traveling players is both fascinating and funny. The lovely cinematography is by Hideo Shigehara, who filmed and sometimes edited many of Ozu's pre-war movies.