Wednesday, June 3, 2009

小津安二郎 / 東京物語

"Tokyo Story"

Director : Yasujiro Ozu
監督 : 小津安二郎

I mentioned a camera work that was similar to Yasujiro Ozu's style seen in "Hito no sex wo warauna" last but one.

But I was wondering why the director (of "Hito no sex wo warauna") used it.

Because I think it should be used with a link between the effect and what the director want to describe in the movie.

So I watched "Tokyo Story" directed by Yasujiro Ozu in order to know his intention and reason why he used it originally.

When I finished watching it, I thought he didn't make a big scene at all.

The story is very simple. Grandparents living in Onomich visit their son living in Tokyo. That's all.

All the scenes consist of what everyone has already experienced. About very usual scene.

So...  in the case of no story in a movie, which point should we pay attention to??

"camera work"

I think how he shoot the movie may give us an answer. 

In the movie, there seem to be two prominent types of the camera work. One shoots certain composition from a bit far point of view with stable camera and the other one shoots only a face and an upper body of an actor.

The former one is what I explained last but one and I analyzed it and found two effects that are ingenerated by it.

1.To ingenerate a sense of reality as if we were also in the scene.

2.To ingenerate a sense of tension between stable composition and unstable acting, distant view and close view.  

These effects help to let us pay attention to "other than a story".

I suppose "other than a story" is a behavior or feeling of actors. He focuses on basic humanity.

All generation (children, parents, grandparents) appear in the movie and  he shot a conflict between children and parents, parents and grandparents with stable camera.

By watching the scenes we can feel as if we were there and observed what human tend to behave and feel in normal life.

What he wanted to describe by shooting a movie gives a reason to this camera work.

His intention is to describe humanity.