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The Butterfly
Tornado Alley
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"Life is an unknown course"
Like the languid lapping of the waves against the shore near the quiet fishing village in this film, Director Ozu brings a gentle rhythm to the past meeting the present and directing the future currents for the people involved. Komajura and his troupe of traveling actors will find their lives changed as they navigate their circumstances and decisions in this remote place.
Komajura is an aging actor with a less than successful acting troupe. He readily admits their Kabuki plays are not very good. Most of the players have only known the stage for most of their lives. In the sweltering heat of the day, they form a small parade in their costumes as they enter the village, handing out fliers. Some of the men seek out the prettiest women in town to invite to the play. Komajura seeks out an older woman and her 19-year-old son, Kiyoshi. Kiyoshi is actually Komajura's son, but only knows him as an uncle for Komajura doesn't want his son to have a poor actor for a father. Komajura's current mistress, Sumiko, becomes enraged when she finds out about his devotion to his secret family and hires one of the girls in the troupe, Kayo, to seduce the dutiful Kiyoshi setting into motion a wave of changes.
Though Floating Weeds has a romance with the young lovers, the main focus of the story is Komajura as the tides in his life change. He faces the loss of his troupe, his lover, and his son. He lashes out in fury in some of the most violent scenes I've seen in an Ozu film. He is forced to deal with his lack of control over his life circumstances and other people. Eventually, he comes to accept where he is in his life and what his relationships have come to be and that his loved ones will make their own decisions about their lives which he may not agree with. Many of the characters must decide who and where they want to be.
There are two scenes where Komajura becomes violent with the women who crossed him and his son. Though this male dominance may have been acceptable in 1959, it is jolting in this present time and incredibly offensive, making Komajura less sympathetic as he seeks to control the people around him through force. As with all Ozu films, the acting is normally quite restrained, making these outbursts all the more difficult to absorb.
The film itself is a beautifully staged and shot film. Ozu's scenic frames tell a story in and of themselves. They are contemplative, quiet, familiar, giving the characters and the audience room to think and breathe. Many of his frames would make incredible still lifes. His red tea kettle makes an appearance in the barber shop! In a powerful scene, Komajura and Sumiko have it out during a rainstorm. Each stands on the opposite side of the street, unwilling to budge, unwilling to move closer or get wet, unwilling to see the problem from the other's point of view. The words are vicious as the water pours down. Later, in a subtle bit of acting near the end in a train station, the same two actors drop their walls ever so slightly to let the other in as cigarettes are lit and forgiveness is given.
This film is a remake of his silent film, The Story in the Floating Weeds which I have yet to see as the film has no English subtitles. Floating weeds refers to itinerant actors. There were few weeds in this film, if I have any complaints, the movie did begin to feel long as some of the problems were dragged out and it felt as if some scenes could have been trimmed. Most of the acting was absorbing with the exception of the actor who played Kiyoshi. This young actor gave a rather wooden performance.
Ozu was a master of making family concerns and life decisions go from simple to complex to simply masterful. Though this film was not completely centered in a home, Komajura's family both biological and extended family with the troupe was explored. Ozu never ventures far from home and hearth, simply showing us different views of it. There is something comforting in his movies, we come to know the people and their struggles, their strengths and weaknesses, sometimes even see ourselves in them as they try to make the best of their lives. Komajura tells his old lover, "Life is an unknown course." The longer we live, the more these words resonate.
2/7/23
Edit—I have since watched and reviewed the original silent film.
Komajura is an aging actor with a less than successful acting troupe. He readily admits their Kabuki plays are not very good. Most of the players have only known the stage for most of their lives. In the sweltering heat of the day, they form a small parade in their costumes as they enter the village, handing out fliers. Some of the men seek out the prettiest women in town to invite to the play. Komajura seeks out an older woman and her 19-year-old son, Kiyoshi. Kiyoshi is actually Komajura's son, but only knows him as an uncle for Komajura doesn't want his son to have a poor actor for a father. Komajura's current mistress, Sumiko, becomes enraged when she finds out about his devotion to his secret family and hires one of the girls in the troupe, Kayo, to seduce the dutiful Kiyoshi setting into motion a wave of changes.
Though Floating Weeds has a romance with the young lovers, the main focus of the story is Komajura as the tides in his life change. He faces the loss of his troupe, his lover, and his son. He lashes out in fury in some of the most violent scenes I've seen in an Ozu film. He is forced to deal with his lack of control over his life circumstances and other people. Eventually, he comes to accept where he is in his life and what his relationships have come to be and that his loved ones will make their own decisions about their lives which he may not agree with. Many of the characters must decide who and where they want to be.
There are two scenes where Komajura becomes violent with the women who crossed him and his son. Though this male dominance may have been acceptable in 1959, it is jolting in this present time and incredibly offensive, making Komajura less sympathetic as he seeks to control the people around him through force. As with all Ozu films, the acting is normally quite restrained, making these outbursts all the more difficult to absorb.
The film itself is a beautifully staged and shot film. Ozu's scenic frames tell a story in and of themselves. They are contemplative, quiet, familiar, giving the characters and the audience room to think and breathe. Many of his frames would make incredible still lifes. His red tea kettle makes an appearance in the barber shop! In a powerful scene, Komajura and Sumiko have it out during a rainstorm. Each stands on the opposite side of the street, unwilling to budge, unwilling to move closer or get wet, unwilling to see the problem from the other's point of view. The words are vicious as the water pours down. Later, in a subtle bit of acting near the end in a train station, the same two actors drop their walls ever so slightly to let the other in as cigarettes are lit and forgiveness is given.
This film is a remake of his silent film, The Story in the Floating Weeds which I have yet to see as the film has no English subtitles. Floating weeds refers to itinerant actors. There were few weeds in this film, if I have any complaints, the movie did begin to feel long as some of the problems were dragged out and it felt as if some scenes could have been trimmed. Most of the acting was absorbing with the exception of the actor who played Kiyoshi. This young actor gave a rather wooden performance.
Ozu was a master of making family concerns and life decisions go from simple to complex to simply masterful. Though this film was not completely centered in a home, Komajura's family both biological and extended family with the troupe was explored. Ozu never ventures far from home and hearth, simply showing us different views of it. There is something comforting in his movies, we come to know the people and their struggles, their strengths and weaknesses, sometimes even see ourselves in them as they try to make the best of their lives. Komajura tells his old lover, "Life is an unknown course." The longer we live, the more these words resonate.
2/7/23
Edit—I have since watched and reviewed the original silent film.
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