NR | 1h 59m | Drama | 1970
Only 10 years after the end of World War II, which left Japan in shambles, the country was able to rise like a phoenix from the ashes and deliver impressive films that continue to receive international acclaim.
One such film, produced in 1959 and directed by Yasujiro Ozu, is titled “Floating Weeds.” It isn’t a thriller or actioner, but rather captures the highs and lows of life that we all face.
Kabuki Troupe
The narrative unfolds subtly, as a Kabuki troupe arrives by boat at a sleepy port town. The troupe is led by aging actor Ganjiro Nakamura (Komajuro Arashi), who wants to visit the town for more than professional reasons.Initially, we follow male troupe performers, such as Kichinosuke (Koji Mitsui) and Sentaro (Mantaro Ushio), as they not-so-subtly seek out the more comely young women of the town under the guise of announcing the troupe’s arrival and its upcoming show at the local theater.
Meanwhile, Ganjiro embarks on his own mission, stopping by a local tavern to reconnect with the owner, a woman named Oyoshi (Haruko Sugimura). As their conversation unfolds, it’s clear that Oyoshi is Ganjiro’s old flame. However, the real shock comes when it’s revealed that Oyoshi’s son, Kiyoshi Homma (Hiroshi Kawaguchi), has been told that Ganjiro is his uncle, when in fact, the actor is actually his father.
Oyoshi pours warm sake for Ganjiro and the two share a quiet moment. As they catch up on the 12 years since they last saw each other, Kiyoshi arrives. Ganjiro and Kiyoshi are thrilled to see each other. The clandestine father invites Kiyoshi out on a fishing trip.
Humor and Reflection
Although the film is presented as a serious drama with some heavy emotional ramifications, comedic beats are tossed in here and there.For example, after infiltrating the seaside town and inviting their young female “picks” to see the show, the aforementioned male troupe members clandestinely peer out through a theater’s screen during an intermission. They point out the ladies that they each have amorous designs on to each other while the unsuspecting fathers of the girls sit innocently beside the ladies in the audience. To punctuate the hilarious scene, one of the female troupe performers chides the “naughty” men by playfully slapping their backs as if they were mischievous little boys.
It’s evident that “Floating Weeds” is one of Ozu’s passion projects. It’s a remake of his 1934 silent film “A Story of Floating Weeds.” While the earlier film laid the groundwork for his distinctive style, the 1959 version represents Ozu at the height of his artistic maturity, much like Japan’s iconic cherry blossoms coming into full bloom.
From the outset, themes of impermanence and change are woven into the narrative. The Kabuki troupe, clad in traditional 17th-century costumes, arrives to perform in a town where the locals wear Western-style clothing, subtly highlighting the cultural shifts that postwar Japan was experiencing.
This juxtaposition serves as a reminder that even the most familiar aspects of life, from our surroundings to our relationships, are constantly evolving in ways both expected and surprising.
Unlike many of Ozu’s films, where change is depicted as an unstoppable tide, here it flows directly from Ganjiro’s decisions, brought to life through Komajuro Arashi’s nuanced performance.
Ganjiro expresses a desire for his son to avoid his own mistakes; he encourages him to pursue education rather than follow in his father’s footsteps as a drifting actor. Ganjiro’s actions reveal a mix of noble intentions and selfish impulses.
Ozu challenges the idealized notion of the ronin (solitary male wanderer) in traditional Japanese culture. He highlights the emotional costs and missed opportunities that can arise without the grounding influence of a stable family life. The film subtly serves as a cautionary tale about the consequences of personal choices.
“Floating Weeds” provides an insightful look into the artistic growth of one of cinema’s most revered directors. Ozu’s refinement of his signature storytelling approach seamlessly blends visual grace with a deeply resonant narrative.
The film is a universally relatable masterpiece, capturing the delicate balance of joy and sorrow in the ebb and flow of our everyday lives.
