If there’s any director who I can trust to take another stab at their work, it’s Yasujirō Ozu.
One of the greatest filmmakers of all time, Ozu empathetic, personal films stand the test of time due to their accessibility and relatable themes. His films like Tokyo Story and Late Spring are still heralded Japanese cinematic classics, but I respect how he’s willing to reacquaint himself with his older work, and approach it from a new lens.
The Criterion Collection just released a double feature of Ozu’s work, A Story of Floating Weeds (1934) and Floating Weeds (1959), and watching both side-by-side beautifully reflect how Ozu grows as an artist, owning his craft and confidence in his skill.
Both the ’34 and ’59 film tell the same story, focusing on an actor in a small-time theater troop who returns to his small town. He gets reacquainted with an old flame who now has a son, which causes the actor’s current mistress to get jealous. Both films hit the same story beats, and as expected by Ozu, the coming-of-age, generational conflict themes in these stories are relatable and compelling. But watching these films back-to-back, you see a striking shift in tone.
The 1934 film is presented like a traditional Japanese melodrama. There isn’t as much stylistically striking cinematography or camera work, instead leaning more on the actors’ raw performances. Takeshi Sakamoto, the lead in the ’34 version, delivers an aggressive performance, reflecting his regret and anxiety perfectly.Everything feels hard and rough, as Ozu does exhibit command over his scenes.
There’s an atmosphere of desperation that reflects Ozu stress as a young filmmaker. The 1959 version showcases a stronger, self-assured sense of style and atmosphere. You see more of Ozu’s directing hallmarks, including his POV camera angles and the emphasis on the sound design and cinematography. Ozu makes his city feel lived in, taking his time to capture older buildings, working class people going about their day, and the beautiful coastline. His ’54 version feels more patient, capturing the world that his characters escaped and/or are stuck in while also taking time to just take in the moments he captures.
The A Story of Floating Weeds (1934) and Floating Weeds (1959) Double Feature is a beautiful way to see how an artist grows with time. It’s inspiring watching Ozu slowly evolve his style, especially for any young filmmaker who’s may be intimidated by not having their style down yet. Skill takes time to develop and it’s healthy to let yourself be challenged and not going in expecting a masterpiece right off the bat. I highly recommend this double feature to anyone just starting out in filmmaking.
