Written by Kôgo Noda and Yasujirô Ozu and directed by Ozu, “Floating Weeds” is a remake of Ozu’s own black-and-white silent film “A Story of Floating Weeds” made in 1934. This film follows a traveling troupe of actors performing Kabuki theatre around the provinces (“floating weeds” is a Japanese term for itinerent actors). In the opening we’re introduced to the sleepy fishing village that will house the story to come as a few random dock workers muse about the heat of the day and the novelty of the incoming troupe. The troupe arrives by boat and parades into town handing out flyers and talking up the locals as they make their way towards their new temporary home while in town, the theatre. While there are some delightful and fun side stories with several members of the theatre crew, the plot’s main focus is on Komajuro Arashi (Ganjirô Nakamura) the leader of the operation, and lead actor. After settling in Komajuro heads off to a Saki bar run by Oyoshi (Haruko Sugimura, his former mistress) to visit and go fishing with Kiyoshi (Hiroshi Kawaguchi) their grown son who is unaware of his true father’s identity, knowing Komajuro only as “Uncle”.
As you might guess, it isn’t long until Sumiko learns of Komajuro’s ulterior motives in choosing this town for their next round of performances. Which doesn’t go well for Komajuro, as Sumiko’s the jealous type. After she discovers this affront and sees Oyoshi in attendance at one of their shows, she goes to Oyoshi’s Saki bar and aggressively confronts her when she catches Komajuro there playing Go with Kiyoshi one afternoon. Despite Komajuro’s shock and dismay at Sumiko’s transgression he bans her from the Saki bar and breaks it off with her in a powerful argument in the rain. Later on Sumiko offers one of the younger actresses some side money to go and seduce Kiyoshi at his job. While reluctant at first Kayo (Ayako Wakao) eventually accepts without knowing Sumiko’s reasoning for the request. Despite the origins of their relationship, Kiyoshi and Kayo end up falling in love. Shortly after this development Komajuro stumbles upon the two embracing in an alley and finds himself in a conundrum- how can he exercise his authority over Kiyoshi without revealing his true identity to him?
Komajuro had high hopes for his son, Kiyoshi had been saving for college and had plans to support his mother when he could. Before Komajuro can sort out the situation though, Kiyoshi and Kayo elope just as the theatre troupe had begun to fall apart. The financial manager absconded with their funds and several members considered leaving before they become too desperate. Dwindling crowds paired with mismanagement spelled the beginning of the end for the troupe. Eventually Kiyoshi and Kayo head back to town at Kayo’s pressuring- but Kiyoshi and Komajuro clash at the Saki bar when Oyoshi reveals Kiyoshi’s true parentage in an attempt to diffuse the scuffle. Kiyoshi discards Komajuro and leaves in a huff while Komajuro sits in amazement at the series of baffling failures set at his feet. He decides to move on after a cheerful long goodbye to the troupe, ironically riding out of town on a train with Sumiko tending to him- begrudgingly accepting his enemy’s re-established loyalty.
Ozu’s works, of the two I’ve seen so far, have this unique serenity to them. Maybe it’s the leisurely pace, the shots of gentle locations giving the world of his stories a sense of the oft quoted “lived-in” space, or simply that the content of his films are universal to the modern human experience. His films evoke a powerful catharsis felt just as strongly sixty years later. Obviously, not every film will work for every person, but I’m willing to bet that if you gave any of his films a chance you might find yourself quizzically enraptured not just by the drama of common themes across his filmography, but also by the meditative cinematography of his infamous “pillow shots” that melt in-between scenes asking you to pause and digest, relax and breathe. There is something powerful in his depiction of the joy, sadness, humor, and tragedy of everyday life that makes his characters seem familiar and his plots reminiscent of truth.
It wouldn’t be an Ozu film (as I’ve come to notice in my intense search for information on the filmmaker) without a particularly precise composition for every shot in his films. Ozu would typically put the composition of his frame above all else, ignoring the continuity of props and eye-lines for the purity of his images. Which is doubly true for his foray into color filmmaking near the end of his career. His warm pastel coloration for “Floating Weeds” adds another layer of texture to the small seaside village the story takes place in. Between the visible mugginess of the hot summer and the cleansing, humidifying, rain that comes at night and in-between heated arguments, there is a unifying sense of place not only with the “pillow shots” of nature and architecture but in all variables of the filmmaking process. Particularly pleasing was the soundtrack, evocative of popular video game scores (which were probably inspired by films such as this) like “The Legend of Zelda: Wind Waker” and “Animal Crossing”, it was perfectly set for a small seaside village in the heat of summer. I doubt there could have been a more perfect fit than what we got. The recurring theme gave way to the notion of music belonging to a particular place in its essence, these melodies molded to fit this time and this place. All of these things combine to craft a beautiful and atmospheric stage for Ozu’s story to play out, and it does so with a grace and humility like no other.
While maybe not quite as emotionally impactful as “Tokyo Story”, Ozu’s remake here is a more diverse picture in terms of emotional balance. This is purely my commentary and I can only speak to my experience with the film, but this film held a greater variety of emotional resonance. I was legitimately shocked when Sumiko directly confronted Oyoshi in her Saki bar. The following heated debate in the rain between Sumiko and Komajuro was incendiary and raw. The anger, regret, shock, and disgust thrown at each other was palpable and moving. While earlier, in less fierce scenes, I was tickled by the three bachelors of the troupe and their antics in trying to pair up with the women of the town. This film is a rarity among cinema, as was Ozu himself, and it’s worth your while to experience something new in the pantheon of film, even though this film is sixty years old- it’s still a charming story with universal and relatable characters and themes. Give it a shot!
Final Score: 3 bachelors, 1 lead actor, and 2 mistresses