Ayako Wakao, Ganjiro Nakamura, Haruko Sugimura

A troupe of travelling players returns to the town where the aging lead actor long ago left a mistress and their son. Komajuro's present lover learns his secret, and out of jealousy convinces one of t...( read more  read more... )he troupe to seduce the son.

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91% liked it

1,634 ratings

Critics

95% liked it

20 critics

Unrated, 1 hr. 59 min.

Directed by: Yasujiro Ozu

Release Date: January 1, 1959

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Flixster Reviews (89)


  • June 4, 2009
    Since it's a remake of the 1934 film the tone, plot, and dramatic feel of this is quite unusual compared to Ozu's other late period films. Ozu takes more time to tell the same story and concentrates more on the atmosphere, which greatly benefits from Miyagawa' s beautiful work a...( read more)nd the Nino Rota-like score, while the melodrama is more pronounced with sound.
  • May 10, 2009
    a rare remake of a film directed by the same auter of the original, ozu retells his silent 1934 classic with the use of sound, dialogue, and color cinematography. suprisingly the only reason this film is even slightly better than the original is ozu's ability to flesh out the st...( read more)ory more with 30 extra minutes and talking actors, but the original silent is so amazing that both films should be seen as top notch films. this version is more light hearted than the original but still dark in its own ways, and the telling of this father/son story is beautiful and effective. a truly wonderful film.
  • February 4, 2009
    Floating Weeds may not hold a candle to Tokyo Story, but it's still a great movie. Better than most as is generally the case for lesser works of a master.

    The last half of the movie makes the first half worth it. Specifically, there's a scene near the end where - and I won't...( read more) use names because I don't want to spoil it - one character tries to light the cigarette of another, and the result is screen magic. The shot selection Ozu uses is par for the course on a film of his: carefully selected and almost always perfect. He sets up the blocking so well that you could understand a scene just by the way everything is arranged. While sometimes this can come off as stagey, it works well for a movie about an acting troupe.

    A great movie by any standard, and a heck of a lot less melancholy than Tokyo Story.
  • April 5, 2008
    Another great Ozu film.
  • October 27, 2009
    "Life's a lottery. You can't always be lucky. I want you to remember that."

    Ukigusa (1959)


    Director: Yasujiro Ozu
    Country: Japan
    Genre: Drama
    Length: 119 minutes

    ...( read more)bums/ww125/ElCochran90/?action=view¤t=Ukigusa.jpg" target="_blank">Floating,Weeds,Ukigusa,Yasujiro,Ozu,Japan,1959

    Ukigusa is Yasujiro Ozu's third film in full color, a technique that is finally mastered by him after directing Higanbana (1958) and Ohayô (1959). It is also one of his best films, and a superb, deeply human drama. Although he may be a very complex and deep director, this is one of his most accesible and easiest-to-watch movies, thanks to the charm and joy he put in his filmmaking style this time and the simple plot. He has proved himself once again as a true master.

    The story begins with a failed travelling acting troupe that arrives to the town where Komajuro Arashi, the aging master of the troupe, long ago left his mistress Oyoshi and his son Kiyoshi, although Kiyoshi was left to think that his real father died and Komajuro is his uncle, since Komajuro feels embarrassed because of being a traveling actor and Kiyoshi building a brighter future as a professionist. However, Sumiko, his present lover, finds out about the situation and becomes jealous, so decides to convince Kayo, the younger actress of the troupe, to seduce Kiyoshi. Besides, from the moment the troupe starts to perform in the town, the audiences are pretty small, arising some problems for all of the actors.

    This drama is an exquisite, apparently simple experience. Some of the film's talent can be seen not only in the wonderful and 100% Japanese filming locations and sets, but also in the wonderful original screenplay Ozu wrote with Kôgo Noda. The color cinematography is a feast for the senses to watch, and due to the film's focus on the humanity and deep feelings of the characters and their respective personalities, the camera does not need any kind of movement but to just stand still and capture beautiful and balanced images.

    The talent of Ozu's direction can be appreciated more on the fact that he tends to construct and accurately portray the complexity of the most basic emotions and weaknesses of the human being even in common and simple life events. This characteristic is highly accentuated by the way the dialogues are talked and the performances are made, which actually seem pretty natural. It was a wise decision to have the actress Machiko Kyô in this film, since her performance was probably the best out of the whole bunch. She also appeared in Akira Kurosawa's Rashômon (1950) and in Kenji Mizoguchi's Ugetsu Monogatari (1953).

    A very interesting moment of the scene is the ending. Whether one may be left disappointed or thrilled, it is in fact, an open ending. I couldn't imagine how such a moving story could end, and I was pretty much satisfied, since normally this kind of films tend to fail in that aspect, which ironically is one of the most important plotwise. I'm aware of the fact that this film is a remake of Ozu's Ukikusa Monogatari (1934), a silent film he directed 25 years before. Although you perfectly know I'm a man of no remakes, I'm planning to see it in a near future. He's one of the few directors that I know of who have remade a film they made, just like Hitchcock did with The Man Who Knew Too Much (1956).

    Overall, I was pretty much pleased and surprised. It is one of those masterworks that, purposely or not, builds a personal opinion in the audience regarding the events that are portrayed on screen, and even relates the audience to any particular character, offering the option of deep reflection. An exquisite drama.

    95/100
  • June 22, 2009
    Hay mucha riqueza en las imágenes y la atmósfera, y su drama es conmovedor, pero tiende a saltar abruptamente de la quietud ceremoniosa al melodrama. / There is much richness in its images and atmosphere, and is a moving drama, but tends to shift abruptly from ceremonious stillne...( read more)ss to melodrama.
  • May 30, 2009
    The 1934 version was far better.
  • April 22, 2009
    A gentle and tender film about actors and the sacrifices they make for their art. The bitter and troubled love story is both moving and filled with wisdom. Ozu is widely regarded as one of the greatest Japanese filmmakers. This might be my favorite of his films.
  • January 30, 2008
    I love the way this movie is shot. Simple story told beautifully. The kid in this film gives the best performance.

Critic Reviews


January 1, 2000
Roger Ebert, Chicago Sun-Times

Sooner or later, everyone who loves movies comes to Ozu. He is the quietest and gentlest of directors, the most humanistic, the most serene. But the emotions that flow through his films are strong and... full review

View more Floating Weeds (Ukigusa) reviews at RottenTomatoes.com

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