Nagaya shinshiroku

1947
1h 12m

ÉVALUATION IMDb

MA NOTE

Dans le Japon d'après-guerre, personne ne veut s'occuper d'un petit garçon perdu hormis Tané, une veuve amère. Le lendemain, elle le ramène chez lui et découvre que son père est parti à Toky... Tout lireDans le Japon d'après-guerre, personne ne veut s'occuper d'un petit garçon perdu hormis Tané, une veuve amère. Le lendemain, elle le ramène chez lui et découvre que son père est parti à Tokyo: il semblerait que le petit ait été abandonné.Dans le Japon d'après-guerre, personne ne veut s'occuper d'un petit garçon perdu hormis Tané, une veuve amère. Le lendemain, elle le ramène chez lui et découvre que son père est parti à Tokyo: il semblerait que le petit ait été abandonné.

Voir l’information sur la production à IMDbPro

ÉVALUATION IMDb

7,7/10

2,3 k

MA NOTE

Voir l’information sur la production à IMDbPro

Anecdotes
This was the first movie made by director Yasujirô Ozu after returning to Japan from his wartime army service abroad. After the surrender, he had been held for half a year in a British POW camp near Singapore, where he had been stationed. Legend has it that he was late in returning to Japan (in February 1946) because, although he was scheduled to be repatriated earlier, another Japanese soldier was desperate to go home, and Ozu let this other man go in his place.

Citations
Tamekichi: [curious about Tashiro's work, which involves fortunetelling] Does fortunetelling work?
Tashiro: Of course it does. Nothing works better.
Tamekichi: Really? The other day you left home wearing rain boots, but the day turned out to be sunny.
Tashiro: Weather isn't my specialty. The weather forecast on the radio works well for that.

Connexions
Featured in The Story of Film: An Odyssey: Birth of the Cinema (2011)

Commentaires des utilisateurs18

Commentaire

Commentaire en vedette

8/10

Beautifully shot, wonderful emotional movie

It's such a shame that Ozu wasn't more of an outdoor director, because I've just found out his landscape shots are some of the most beautiful I have ever seen. This is one of Ozu's most beautiful movies.

As always, Chôko Iida is absolutely amazing. It's a beautiful story, with a lot of light, funny moments and tender, emotional ones as well. It's not very different from Ozu's pre-war movies, but as such it's equally beautiful. I was somehow disappointed for Ozu not exploring even more the tenement's habitants, but overall I was satisfied with Chôko Iida performance and the tender story of the bond between her and a child.