Product Details

• Actors: Ganjiro Nakamura, Machiko Kyô, Haruko Sugimura, Takeshi Sakamoto, Chôko Iida
• Directors: Yasujiro Ozu
• Writers: Yasujiro Ozu, Kôgo Noda, Tadao Ikeda
• Producers: Masaichi Nagata
• Format: Black & White, Closed-captioned, Color, DVD, Special Edition, Subtitled, NTSC
• Language: Japanese (Dolby Digital 2.0 Mono)
• Subtitles: English
• Region: Region 1 (U.S. and Canada only. Read more about DVD formats.)
  
• Aspect Ratio: 1.33:1
• Number of discs: 2
• Rating: Unrated
• Studio: Criterion
• DVD Release Date: April 20, 2004
• Run Time: 205 minutes
• Average Customer Review: 4.8 out of 5 stars  See all reviews (21 customer reviews)
• ASIN: B0001GH5RY
• Amazon.com Sales Rank: #42,723 in Movies & TV (See Bestsellers in Movies & TV)
• For more information about "Stories of Floating Weeds (A Story of Floating Weeds (1934) / Floating Weeds (1959)) - Criterion Collection" visit the Internet Movie Database (IMDb)

Editorial Reviews

Amazon.com

Providing a unique opportunity for the appreciation of Yasujiro Ozu's signature style, Criterion's definitive double-feature of A Story of Floating Weeds (1934) and Floating Weeds (1959) demonstrates the evolution of a master. Drawing inspiration from the now-obscure 1928 American carnival-troupe drama The Barker, Ozu first made A Story of Floating Weeds as a silent film (despite the advent of sound by that time), and Criterion's DVD features a sublime, newly recorded original score that sounds and feels like it's been part of the film all along. The film itself concerns a traveling Kabuki troupe faced with dramatic revelations as they perform in a rural village: Their master has had a son from a former lover whom he is visiting for the first time in a dozen years. Unaware of his parentage, the now-grown son thinks the visitor is his rarely seen uncle, and the master's mistress, upon discovering her lover's secret family, plots to undermine their relationship by urging a young actress to seduce the son, knowing that this would enrage the master's discreet familial pride. By story's end, all of these central relationships will undergo deep and resonant change.

Ozu was justifiably proud of this meticulous character study, in which his celebrated low-angle style began to assert itself. A quarter-century later, he remade the film as Floating Weeds, retaining the same story and characters, switching the setting to a seaside town, and demonstrating a more casual acceptance of human foibles that makes the 1959 version (Ozu's first film in color) relatively calm and compassionate when contrasted with the more turbulent tone of the '34 silent. Having grown as an artist, Ozu was at his stylistic peak here, having refined his style to the point where all camera movement had given way to flawless refinement of static compositions. These and other comparisons abound in the study of original and remake; to that end, commentaries by preeminent Japanese film expert and dialogue translator Donald Richie (on the '34 film) and film critic Roger Ebert (on Floating Weeds) provide astutely thorough appreciations of the parallel structures, stylistic evolution, and cultural specifics of films that, until the early 1970's, were considered "too Japanese" for an international audience. Never dry or pretentious, their scholarly analyses lend solid, sensitive context to the enjoyment of two of Ozu's most critically and commercially successful films. --Jeff Shannon

Product Description

In 1959, Yasujiro Ozu remade his 1934 silent classic A Story of Floating Weeds in color with the celebrated cinematographer Kazuo Miyagawa (Rashomon, Ugetsu). Setting his later version in a seaside location, Ozu otherwise preserves the details of his elegantly simple plot wherein an aging actor returns to a small town with his troupe and reunites with his former lover and illegitimate son, a scenario that enrages his current mistress and results in heartbreak for all. Together, the films offer a unique glimpse into the evolution of one of cinema's greatest directors. A Story of Floating Weeds reveals Ozu in the midst of developing his mode of expression; Floating Weeds reveals his distinct style at its pinnacle. In each, the director captures the joy and sadness in everyday life.

Customer Reviews

Most Helpful Customer Reviews

48 of 49 people found the following review helpful:

5.0 out of 5 stars I loved loved loved this movie!, May 2, 2004

By	E. Dolnack (Atlanta, GA USA) - See all my reviews (REAL NAME)

If you only buy one Japanese film to add to your DVD collection, let it be an Ozu film and "Floating Weeds" is a wonderful place to start. There's really nothing I can say that isn't absolutely praiseworthy about Ozu and this film. It truly is a masterpiece in every sense of the word.

The Criterion Collection DVD is also a masterpiece, giving us both the original silent "Story of Floating Weeds" and the 1959 remake "Floating Weeds", (both directed by Ozu). The mastering is done well, the sound is great, and the voice-over commentary by famed Roger Ebert of the Chicago Sun Times is a delightful surprise. Ebert humbly acknowledges that there are better Japanese film & culture experts out there, but "does his best" to give a very thorough description of Ozu's very unique style. Needless to say, it's one of the better and more informative commentaries I've heard and Mister Ebert is modest.

The story is genuine, sweet, simple, and believable. The characters are solid and have great depth. Ozu keeps the action and emotions to a realistic level without resorting to over-acting in any of his films. They almost don't feel like films in this way, but feel like intrusions into other peoples lives, but politely so.

Many people have speculated as to Ozu's curious method of placing his camera just below the eye-level of his actors onscreen, and I have my own theory. Perhaps Mr Ozu also has the innocence of children in mind, and is trying to see the world unbiasedly and naively like a child might - from the aproximate eye-level of a child viewing the events happening in the same room as he or she? It's an idea anyway. Perhaps also Ozu wants the camera to look up to his characters as if it is respectfully just below them submissively, as if it is bowing to them all in respect? It's difficult to say for certain, but the look is unique in all of film and once it hooks you, you're hooked for life! You have been warned.

After this wonderful classic, I recommend Ozu's "Tokyo Story" from 1953 (also recently released by the Criterion Collection). Ozu is a great film master and no one could compose a shot like he in all film history. If you haven't, you must see an Ozu film at least once in your lifetime!

17 of 17 people found the following review helpful:

5.0 out of 5 stars What is a family?, January 10, 2005

By	Zack Davisson "All Good Things" (Seattle, WA, USA) - See all my reviews (TOP 100 REVIEWER)    (REAL NAME)

Ozu called himself a "tofu dealer" who sold many different kinds of tofu, but never pork cutlets or anything like that. He was a master of variations on a theme, taking simple stories and telling and re-telling them, each time with a subtle difference, a slight bend in light and tone. In this stunning DVD package, we are treated to two servings of the same tofu, with the flavor variation that comes with ageing.

The older film, 1934's silent masterpiece "A Story of Floating Weeds" ("Ukigusa monogatari") was made by a younger man with a younger man's passion and righteousness, and the more modern update, 1959's "Floating Weeds" ("Ukigusa,") longer and in color, shows the mellowing that comes with age, the greater desire to forgive, as we see the same story unfold in the hands of an older version of the same man.

Like the river weed from which the films take their names, the Kabuki actors in both versions float from town to town, going where the course takes them and leaving behind nothing permanent. Long ago, however, one piece of ukigusa, the troupe leader Kihachi, betrayed his nature and left behind something of himself, a son. Now, the course of the river brings Kihachi back to his house of old memories. He is excited, pleased with his son, and briefly considers abandoning his drifting ways to become a true and settled tree. But Kihachi does not float alone, and his leaves and roots are entangled with his Kabuki troupe, including his lover who is determined to keep him drifting.

Like all of Ozu's films, the role of the family is the forefront of "A Story of Floating Weeds/Floating Weeds." In these films, the idea of family is hard to define. Is it the Kabuki troupe, who live, sleep, eat and work together day in and day out, or is it the biological attachment with a son you have rarely met and a woman you never married. Irregardless of the definition, a breakdown is imminent, and only after the pieces have been scattered can we divine the truth.

Individually, either of these films is a treat, but bound together like they are in this Criterion Collection release the bar is raised even higher. A masterpiece of DVD craftsmanship to compliment two masterpiece films. Each film has a commentary track, "A Story of Floating Weeds" by Japanese film grandmaster Donald Richie, who also did the subtitles and provides an insert essay, and "Floating Weeds" by admitted Japanese film novice Roger Ebert. Both commentaries are incredibly insightful and add to the level of appreciation for these films. The new soundtrack for "A Story of Floating Weeds" is sublime, although I have never heard the original so I cannot make a comparison.

Hats off to the Criterion Collection! Now more Ozu, please! Keep them coming, just like this.

10 of 10 people found the following review helpful:

5.0 out of 5 stars Another fine release from criterion...., October 22, 2004

By	Stalwart Kreinblaster "SK2008" (Xanadu) - See all my reviews

Floating weeds is the first Ozu film I have seen in color - it is very interesting to see how this master of black and white decided to utilize colors in a very striking way. The story is, like most Ozu films, very simple - about daily life - and leads, eventually, to a course of dramatic emotional events surrounding a family. It is not nearly as sad as 'Tokyo Story' but makes you reflect just as much. It is also an interesting comment on acting - on and off the stage - as the father in the film pretends he is an uncle to a son who does not know that this traveling actor - is actually his father - who elected to live a travelling life with an acting group - instead of settling down to raise a family.
This is another great criterion dvd - featuring commentary from Roger Ebert - and a beautiful transfer of the movie - and the earlier 1934 version. Ozu is without a doubt one of my personal favorite movie makers.