What will we do with our parents? Or to put it another way: what will become of us? This question is at the heart of Yasujiro Ozu’s Tokyo Story (1953), as an aging couple pay a round of visits to their adult children and realize everyone is too occupied with their own cares and worries to have time for them. Conceived as a Japanese remake of Leo McCarey’s equally brilliant Make Way for Tomorrow (1937), which Orson Welles said would make a stone cry, Tokyo Story has come to be regarded as the masterpiece of Ozu’s understated late style, which stringently observes family relations from a series of precisely observed vantage points. It’s a classic example of the specific microcosm serving as a universal statement as it opens our eyes to the world around us. In this case, it’s a world we still live in, while Ozu’s magic is to turn its piercing sense of loss and disconnection into wounded beauty.
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