Subarashiki Nichiyobi (One Wonderful Sunday) - Movie Reviews - Rotten Tomatoes

Subarashiki Nichiyobi (One Wonderful Sunday) Reviews

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June 15, 2015
The story may not be as impressive as the efforts put into directing this film, but I was lovely nonetheless. I enjoyed everything about this romantic drama visually and emotionally. The feelings I had during scenes were strong and the characters were interesting and pitiful. The story, to me, is still sweet and ends with an uplifting sense of hope and perseverance. I really enjoyed watching this film and witnessing Kurasawa's maturing abilities. He uses weather and music to evoke strong emotions, mirroring that of the characters'. I also enjoyed his close ups on the couple's feet. There is a bit of emphasis on the broken shoes of the female lead toward the beginning. Seeing their shoes close up in the rain puddles reminds you how uncomfortable the characters must be, yet they continue on, determined to find happiness together. It felt romantic to see their feet treading the cold wet streets together. All in all, this was a great Kurosawa film.
March 4, 2015
Its the ones who don't know who are the unfortunate one's.
On my cinematic journey through Akira Kurosawa's films this is his best film so far, its massage for the people most effected by World War 2 has long since passed, but it can still be applied to us in this day and age, as well as pushing the limit on sexualism and relationship in films post-war. A sweet dream like film (all these thing I am stating now are fairly well tolled in the film so I will be stating the obvious) following a young couple who are broke as a joke on a average Sunday that turns out to be there greatest moment in there live's as the world throws everything at there fragile relationship, a depressed war veteran is being challenged with looking after his girlfriend, but some how there youthful properties in there personalities are sheltered through and give them a saving grace with a helping hand by a round applause they make it through.

On there adventure to the Zoo they look at each animal and give a description how they feel and what they seem like, in this scene they are stating the different types of people around them including themselves using the animals, in the scene they describe a weird looking bird and reference it with a similarly weird-slightly nuts guy they met earlier, Bear cubs, innocent and cute- this is the young girl because of her key-ring of a tiny bear she holds in her handbag through out the film and of course the guy a less kinder and more concrete person formed by war is an almost complete opposite from his lady-friend who is more like a child-youthful- he is compared to a a depressed looking Dear. I have to say this film chipped out a tiny piece of titanium in my man-armor my making tear-up not because it was emotionally sad (although it is quite sad), what made me teary eyed was the gleeful happiness of the two and there funny encounters with all the other zoo-like people. Funny and faith restoring film, Kurosawa has earned some director points.
Just the kindest film without being to corny or sappy, so evenly weighed out with it's camera work making it flow by quickly as-well as suspending it in the mind with it gorgeous dreamy scenes that look like fine paintings, each scene perfectly captured by the black and white film.
January 22, 2015
Kurosawa's postwar film about a young couple trying to have a fun date with very little funds, but basically almost everything invariably goes wrong. The young man is dealing with deep depression because he is a war veteran that gets absolutely no respect.What keeps him afloat (just barely) is the supreme optimism of his girlfriend, despite being so poor she is wearing shoes that has almost completely worn out. They are a couple who religiously see each other once a week and always on a Sunday. The film is a day in the life and is mostly notable for its legendary climax in which Kurosawa basically asks the audience to interact with the actors by clapping hands, as they embark in a fantasy world just to survive emotionally. Japanese audiences notoriously refused to do so, whereas the people of France gleefully interacted with the film to the delight and glee of Kurosawa. A 5 star film for just about any other director, but i hold Kurosawa to very high standards since he is my all-time favorite director.
June 16, 2014
Very "Capraesque." I'd say darker than Capra, but then I think of It's a Wonderful Life. Very interesting depiction of postwar Japan/Tokyo. Really get drawn into the characters' lives. The attempt at breaking the 4th wall near the end is awkward and is surprising and seems misplaced, but otherwise a solid depiction of a couple.
December 29, 2013
Bittersweet, but heartwarming.
January 25, 2013
ONE WONDERFUL SUNDAY - Chieko Nakakita's Masako is irrepressible... Isao Numasaki is just great as Yuzo... a moving story of survival, and (true) love... the film captured me from the very beginning... this one will make you laugh and give a hard tug at your heartstrings... the last 5 minutes is so touching and tender it almost hurts... and, I'm sure that Yuzo and Masako met again that next Sunday... and again the Sunday after that... and that she would always hear his 'symphony'... and eventually, they did get that little place of theirs... and somewhere out in the celluloid universe there is a happy couple sitting on their porch overlooking their garden... and they're having many Wonderful Sunday's. This is Kurosawa's BEST... --Mike
December 11, 2012
Some Deaths Are of the Spirit

The ending of this movie, I must confess, is a bit "I do believe in fairies!" My understanding is that neither American nor Japanese audiences were terribly fond of it, but the French responded better. I'm not generally a huge fan of breaking the fourth wall in movies unless it's broken all along--Rob's monologue with the camera throughout [i]High Fidelity[/i], for example, or the narration in films noir. However, to have the characters turn to the camera in a single scene and demand that we respond to them in some way takes me out of the story. It kind of makes me feel creepy, to be honest. I'm well aware that the basic premise of fiction is a kind of voyeurism; we are watching people's lives, often in places where they wouldn't want us to. I get that. However, I can pretend that isn't true if they ignore us, and if they don't, they're inviting us in. But to have them notice us in a single scene while ignoring us before? Awkward.

It is post-war Tokyo. Yuzo (Isao Numasaki) is a veteran; the years since the war ended have not been kind to him. Even before the war, his girlfriend was Masako (Chieko Nakakita). They now meet on Sundays, the only day they can, and spend the day together. On this particular Sunday, all they have to spend is thirty-five yen. I don't know what the conversion rate was, but I do know that it wasn't a lot of money. Over the last two years, however, they have learned pretty much everything that can be done in Tokyo for not much money. Masako is still cheerful and full of hope and dreams. She reminds Yuzo of their plan to build the Hyacinth Cafe, a restaurant with good coffee and pastries for reasonable prices. He tells Masako not to dream, that there is no place in their world for dreams. They play ball with some boys, go to the zoo, and hope to see a concert of the music that they heard on their first date. They also quarrel and make up.

This wasn't Kurosawa's first film; he actually got his start during the war. However, this is early work of his, well before the great costume epics for which he is generally known in the US. I honestly kind of prefer the modern films, the films where he is exploring what it means to live in Tokyo in the years and eventually decades after the war. There are signs of the American occupation, but not many, and there are no American characters in the movie. They aren't important here. What matters is what the war has done to this young couple. Oh, I'm sure part of the issue is that I don't really know Japanese history, and this is an era where I get all the historical references. However, these are people trying to find their place in a changed world, and that's interesting no matter what world it is. When Yuzo and Masako first met and shared their dreams, they did so in a world where Japan was a conqueror, not conquered. Everything has changed, and Kurosawa knows that as well as his characters.

It's also worth noting that Tokyo, in this movie, is still in the process of rebuilding. When Yuzo and Masako are sharing a daydream about their cafe, they do so among ruins. There is a zoo again, and concerts, and streetcars, but there is also rubble. The most successful people we see are either black marketeers or Westernized in some way. Yuzo and Masako are trying to get by in a more traditional way, and it isn't working out for them. It is almost as though people like them are the ruined bits of the city, the bits which haven't come back yet. Tokyo is still rebuilding, and until it does, there is no place for people of honour and dignity. There is still much to be rebuilt, and it is only when everything achieves a new normal that people like Yuzo and Masako will thrive over ticket scalpers and gangsters. Now, yes, that will eventually mean Westernizing in ways that haven't always been very good for Japanese culture. But it's better than living sixteen to a house.

At the same time in the United States, veterans were going to college and starting businesses. This is the advantage of winning, or one of them--you can provide for your veterans. Pride in service is all very well, but the US was giving $20 a week for a year to its veterans, and the Japanese simply couldn't do that. By the sound of it, the Hyacinth Cafe wasn't a bad idea; certainly I quite like Masako's colour sense. However, I'm not even sure that the Japanese military received all its pay from the time of the war. I rather suspect inflation had caught up with them, too, and what pay they got wasn't worth much. I've been reading quite a lot lately about the US home front during World War II, and much of it discusses war marriages and so forth, and what people did afterward. The people in the US ended the war with great hope, in part because they'd won and in part because the country was hardly damaged at all. There was a place for our Yuzos and Masakos, and we were the luckier for it.
½ February 13, 2012
Framed in a bombed out city in Japan, the story follows the daily survival of two young lovers. An ex soldier and the woman he left behind try to figure out how they can when they can continue thier lives as thier very natures seem at "war" with the new brutal economic realities, but still they try to cling to thier youthful dreams and each other. At one point they speak directly to the audience (1947 Japan) in a passionate plea for everyone to help them (other real life couples) rebuild thier lives together as a country. Probably one of Kurosawa's finest use of camera placement and cutting in one of his modern dramas.
Super Reviewer
½ November 10, 2011
It went on too long and featured characters who I could not care about whatsoever despite the film's attempts to get me to feel sorry for them. The usage and depiction of post-war Japan is interesting, not interesting enough that it makes me want to like or rewatch this campy, melodramatic film. The ending is one that made me raise my eyebrow and then sigh in relief because I can go onto watching Kurosawa's next film--this first with Mifune--Drunken Angel.
May 29, 2011
Maybe I'm getting soft but this movie really snuck up on me and was a total treat! Yet again Kurosawa never seizes to amaze me in showing his diversity and talents as a filmmaker. A very simple yet heartfelt story about two lovers who share imagination to cope with post war Japan and simply enjoy the love that they both have for each other and their country. A great ending leaves you wanting more!
½ March 25, 2011
A very uplifting movie in the face of disaster.
½ March 23, 2011
Kurosawa's early work is very different from the later work that he is better known for.

His earlier work had a tendency to drift into an overly hopeful, almost naive style. But I like that. His early work shows a hopefulness for humanity that some of his later work is missing. I would almost say that One Wonderful Sunday, along with Scandal and The Most Beautiful have a very Frank Capra vibe to them.

And I'm coming to the conclusion that no one will ever match Kurosawa's camerawork. Period.
February 23, 2011
Lovely film, unlike Kurosawa's later works. A simple story about individual hope. Scenes I loved were the children baseball game and the rain scenes. Fine performances by the two leads. And, always love the breaking of the fourth wall.
February 13, 2011
I absolutely loved this film it stresses the importance of dreams, and hopes. The characters are delightfully portrayed, and you really feel like this is a real story. You feel their pain, but also their joy. I love films that give you the day in the life of a character, and this is an excellent example of one. A must see for all fans of Japanese Cinema
November 13, 2010
This is a brilliant film. Not only does it give a glimpse of Japanese civilian life in the aftermath of WWII, it also gives a wonderfully bittersweet day in the life of a somewhat mismatched pair. Really enjoyed this one.
Super Reviewer
October 24, 2010
Two young lovers go wandering around town on one wonderful Sunday, but the movie is more serious as it sounds as they think about their futures. I really enjoyed this movie.
½ September 27, 2010
cynics and feminists beware. might have rolled my eyes a hundredth time time during. wanted to stab the bloody irritating yuzo and his ridiculously optimistic masako to end their misery, then myself, to end mine.
any diehard kurosawa fans? let me know if you want this, not re-watching it in this lifetime or the next.
Super Reviewer
August 2, 2010
a charming and severely underrated kurosawa film. a delightful romance, an easy atmosphere, and the symphony scene at the end was majestic. a bit slow mooving at points, but only because the film seeks to be genuine, and in my mind kurosawa accomplishes his purposes.
½ July 18, 2010
A sweet, sad, ultimately hopeful look at trying to get by in post-war Japan from Akira Kurosawa. I was completely charmed.
July 16, 2010
A film with fresh feelings and it successfully reflect the social issues in Japan after WWII.
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