Floating Weeds (Ukigusa) (1959)
Critics Consensus: Floating Weeds boasts the visual beauty and deep tenderness of director Yasujiro Ozu's most memorable films -- and it's one of the few the master shot in color.
No Top Critics Tomatometer score yet...
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 … More
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Critic Reviews for Floating Weeds (Ukigusa)
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.
Ozu is, however, very special in his technique, which by the end of his career, had become very modest, lucid and lovely.
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.
His spare, slow-moving films are not for all tastes, but once the rhythms are accepted, Ozu's work offers a unique emotional experience.
...there isn't a detail in Floating Weeds that isn't meant to be carefully seen.
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.
Ozu's familiar combination of melancholy regret and buoyant comic gaiety is beguilingly in evidence.
Yasujiro Ozu's film is in color, and the screen compositions are incredible.
A variation on the theme of the family that pervades nearly all Ozu's pictures.
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.
As with much of Ozu's ouevre, verges on the melodramatic, but shows just enough restraint to prevent descent into such syrupy realms
Like all of Ozu's work, it's incredibly human, and that can be a rarity in the artificial world of the cinema.
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.
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.
Audience Reviews for Floating Weeds (Ukigusa)
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.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.More
I love the way this movie is shot. Simple story told beautifully. The kid in this film gives the best performance.More
Well this is my introduction to Ozu and it's a highly overrated one. I mean to long indulged film offered me nothing. One beautiful camera shot in the rain and all of a sudden this has some of the best cinematography ever. A predictable and overly laid out story. Awful, and I mean dreadful acting. I don't see anything classic about this. I will credit the color usage, but other than that this is really not special.More
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