I was able to see The Story of Floating Weeds for the first time recently, thanks to the Criterion Collection's DVD.
I was led to it when I came across Roger Ebert's list of his ten favorite films (written some time ago).
In his notes, Ebert claims Ozu shows us a "different cinematic language" but I find that kind of talk so much blather. Ozu uses his shots effectively to allow the actors to communicate the emotions being portrayed, especially necessary in this silent film.
A third rate company of traveling actors returns to a town after four years. The leader of the troupe had abandoned his lady in this town years before in order to tour with his company. He has fathered a son by the woman, whom he visits whenever he can, but his paternity is kept secret from his son.
What follows is the exposure of the secret and the effect it has on the lives of everyone involved, and some innocent bystanders as well.
The camera is almost always objective, the acting style is somewhat less melodramatic than in American silent films. There are excellent performances by all.
No time period is given for the story, but I have to assume it is earlier than the year the film was made (1934) because there are no automobiles, no radios, no telephones.
The enjoyment of Floating Weeds lies in the story itself and the ability of the director to tell it compellingly. If you demand car chases or food fights, this is not for you.
The Criterion DVD allows you to watch with or without the specially commissioned score. For first viewing, I recommend without.
I was led to it when I came across Roger Ebert's list of his ten favorite films (written some time ago).
In his notes, Ebert claims Ozu shows us a "different cinematic language" but I find that kind of talk so much blather. Ozu uses his shots effectively to allow the actors to communicate the emotions being portrayed, especially necessary in this silent film.
A third rate company of traveling actors returns to a town after four years. The leader of the troupe had abandoned his lady in this town years before in order to tour with his company. He has fathered a son by the woman, whom he visits whenever he can, but his paternity is kept secret from his son.
What follows is the exposure of the secret and the effect it has on the lives of everyone involved, and some innocent bystanders as well.
The camera is almost always objective, the acting style is somewhat less melodramatic than in American silent films. There are excellent performances by all.
No time period is given for the story, but I have to assume it is earlier than the year the film was made (1934) because there are no automobiles, no radios, no telephones.
The enjoyment of Floating Weeds lies in the story itself and the ability of the director to tell it compellingly. If you demand car chases or food fights, this is not for you.
The Criterion DVD allows you to watch with or without the specially commissioned score. For first viewing, I recommend without.