After finishing his contract with Shochiku, Yasujirō Ozu shifted gears with Floating Weeds, an adaptation of one of his previous black-and-white silent films. There are a few differences. It has sound and color, it’s set after World War II, and Ozu works with a new team, including actual kabuki actor Nakamura Ganjirō II. With these changes, Ozu sharpens his parallel romances for a generational conflict split by the war. The classic melodrama had taken on a new meaning. As Komajuro meets his son, and his kabuki theatre fails to sell, Ozu observes a world that has changed for the better, but has left some unable to do the same. Floating Weeds still holds the story’s original themes, but it thoughtfully reimagines the family of its time through Ozu’s appreciation for the everyday.
A theater troupe master's visit with his old flame unintentionally sets off a chain of unexpected events with devastating consequences.
While in town for a performance with his kabuki troupe, lead actor Komajuro visits his old flame Oyoshi and their son Kiyoshi. However, this visit drives Komajuro’s current lover Sumiko to jealousy, making her force young actress Kayo to seduce Kiyoshi.
Given the changes with the format, it’s not unusual to adapt one’s own work, but whenever that happens, it’s always so interesting to see how much the director evolved in style.
Why do Ozu’s films feel so calm and gentle, but still somehow push me to tears?
