Floating Weeds (Ukigusa) (1959)

95% of critics liked it
(20 reviews)
91% of users liked it
(2,279 ratings)

This 1959 Ozu production centers on the likable but fallible leader of an itinerant acting troupe ("floating weeds" being the Japanese name for such groups), Kimajuro, played brilliantly by Ganjiro Nakamura. The film opens on a lazy, stagnant river as the troupe lays spread about on a boat deck… More This 1959 Ozu production centers on the likable but fallible leader of an itinerant acting troupe ("floating weeds" being the Japanese name for such groups), Kimajuro, played brilliantly by Ganjiro Nakamura. The film opens on a lazy, stagnant river as the troupe lays spread about on a boat deck drifting downstream. It's obvious that they're a ragged bunch as they sit fanning themselves and smoking on deck. The boat pulls into a quiet fishing village where the troupe proceeds to canvass the town, hanging up posters and performing impromptu stunts for the inhabitants. Kimajuro and his actress mistress, Sumiko (Machiko Kyo), head to the theatre and secure their cramped quarters above the theatre's main hall. Kimajuro leaves to pay a visit to a local saki bar owned by Oyoshi (Haruko Sugimura), who, years previous, had conceived a child with Kimajuro. The child has grown into a strapping young man, Kiyoshi (Hiroshi Kawaguchi), who has a good job at the post office. Kimajuro, although clearly proud of his son, has refused to take responsibility for the child and Kiyoshi thinks Kimajuro is merely his uncle. Unbeknownst to Kimajuro, Sumiko has discovered his secret, and, infuriated, hires a young actress to seduce Kiyoshi. Terrified that his son is falling for this woman of loose morals, Kimajuro has to decide what's most important: keeping his secret safe or saving his son by acknowledging his paternity. ~ Brian Whitener, Rovi

Rating, Runtime: Unrated, 1 hr. 59 min.
Directed By: Yasujiro Ozu
Genres: Art House & International, Drama

In Theaters: Nov 17, 1959 Wide
On DVD: Mar 23, 2010

Critic Reviews

Roger Greenspun, New York Times
Ozu is, however, very special in his technique, which by the end of his career, had become very modest, lucid and lovely.
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 deep.
Dave Kehr, Chicago Reader
His spare, slow-moving films are not for all tastes, but once the rhythms are accepted, Ozu's work offers a unique emotional experience.
Philip French, Observer [UK]
This is a vibrant movie, one of his few in colour, and touches on universal themes through the story of a middle-aged actor and his young mistress coming with a second-rate kabuki company to a small coastal town.
Peter Bradshaw, Guardian [UK]
Ozu's familiar combination of melancholy regret and buoyant comic gaiety is beguilingly in evidence.
Tom Dawson, Total Film
A thoroughly absorbing affair.
Douglas Pratt, DVDLaser
Yasujiro Ozu's film is in color, and the screen compositions are incredible.
, TV Guide's Movie Guide
A variation on the theme of the family that pervades nearly all Ozu's pictures.
David Parkinson, Empire Magazine
It's slow, slightly old fashioned, and one of Ozu's weaker works, but even in one of his lesser works there's still much to marvel at and appreciate.
Dan Jardine, Cinemania
As with much of Ozu's ouevre, verges on the melodramatic, but shows just enough restraint to prevent descent into such syrupy realms
Geoff Andrew, Time Out
The sheer beauty of Ozu's exquisite (and typically eccentric) compositions and the expressive use of sound tell all you need know about the characters, their emotions and relationships.
James Kendrick, Q Network Film Desk
Ozu inserts more lighthearted comedy and tones down some of the bleakness of the melodrama
Don Willmott, Filmcritic.com
Like all of Ozu's work, it's incredibly human, and that can be a rarity in the artificial world of the cinema.
Jeffrey M. Anderson, Combustible Celluloid
Provides endless pleasure.
Tom Dawson, BBC
Richly atmospheric, with its expressive use of colour, lyrical cutaways, and masterly interior compositions -- predominantly shot from Ozu's trademark low-level camera position -- impressively illustrating the director's visual artistry.
Dennis Schwartz, Ozus' World Movie Reviews
All Ozu's films are great.
Ali Catterall, Film4
A poignant tale of everyday folk; their lives, loves and losses, rendered with exquisite care, compassion and no small measure of humanity by one of the masters of Japanese cinema.
John A. Nesbit, Old School Reviews
His scenes pack far more emotional punch than any of Jerry Bruckheimer's explosive special effects.

Read all 18 critic reviews

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Featured Audience Ratings

danny d

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… More
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 story 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.
Jennifer X

Maybe I just don't like Japanese films, but this is overrated to the hilt. The story is average and the cinematography isn't as cathartic as most would delude themselves into thinking. It was long and boring but it wasn't just that I disliked - it was Ozu's… More
Maybe I just don't like Japanese films, but this is overrated to the hilt. The story is average and the cinematography isn't as cathartic as most would delude themselves into thinking. It was long and boring but it wasn't just that I disliked - it was Ozu's assuming of self-importance that from the start turned me off the film.
Tim S

I love the way this movie is shot. Simple story told beautifully. The kid in this film gives the best performance.