A Story of Floating Weeds (1934)
While many recognize Yasujirō Ozu as one of the best filmmakers of all time for his drama efforts of the 1950s, Ozu had a long career going all the way back to the 1920s. While plenty of these early films lack the craft and impact of his later filmography, there still are quite a few gems within these that show hints at what the director is destined to become. One of these films is 1934's A Story of Floating Weeds. Following a personable kabuki tribe who have arrived at a provincial seaside town to perform, the film finds a poetic meditation on life and companionship that is sure to hit many audiences hard as with those later Ozu projects.
Often the most beautiful pieces of Ozu's work come from the mundane authenticity of the lives he captures. There isn't another filmmaker out there who truly understood and had confidence in the average human experience when it comes to using it as a vehicle to connect with audiences and find incredible emotions. On paper, A Story of Floating Weeds might seem rather simple. The vast majority of the film's 86-minute runtime is dedicated to hanging out with these characters and seeing their daily interactions. From dealing with small dramas that pop up in rehearsals to the boredom of waiting for a show, the film allows the audience to sit and understand not just the characters themselves but the worlds they live in. The film carries a transportational quality that sucks the audience into the studios and towns where these individuals spend their days.
This allows the audience to connect to the characters featured within the story on a deeper more authentic level which in return makes the drama they face all the more impactful. A Story of Floating Weeds is an analysis of the complications that come from relationships. Whether romantic or platonic, the collaboration of two minds can be both incredibly rewarding and frustrating. Especially when those two minds are not on the same page, things can become toxic and painful incredibly quickly. While the drama within A Story of Floating Weeds can read rather scandalous with affairs and emotional fights, the maturity found within the voice and craft of Ozu holds the project together allowing a deeper thesis to form.
It is almost a curse how one's happiness relies on the actions of others who can be both oblivious and inconsiderate to how their actions can affect others. While A Story of Floating Weeds lets these emotions breathe, it also makes it clear that life has to move on. This is a worthwhile and incredibly relatable piece of the human experience that Ozu is able to pull and form naturally. While the effectiveness might not quite be to the level which he will find with films like There Was a Father, it still is impressive and does connect powerfully nearly a century after the film's release.
The technical side of the film also shines bright. Ozu's early collaborator Hideo Shigehara, who worked both in the cinematography and editing of Ozu's projects until 1937, shows more hints at what is to come. From a delicate edit to unique cinematography that enhances the audience's ability to experience the world within the film for themselves, again these are pieces of the filmmaking experience that Ozu will master in future projects but already is clearly aware of and pushing this early in his career.
The only real issue one could find with the film is some of the performances. A handful of moments from the cast as a large feel a bit forced and contrived, but this really is rather minor. A Story of Floating Weeds might not be a masterpiece from Ozu but certainly is a success. The story is rich and it makes total sense why a matured and more experienced Ozu would remake the film in 1959. Where that film might be more polished and effective overall, this earlier version still works quite well and is worth the watch for anyone wanting to see just how promising some of Ozu's early work really was.
Often the most beautiful pieces of Ozu's work come from the mundane authenticity of the lives he captures. There isn't another filmmaker out there who truly understood and had confidence in the average human experience when it comes to using it as a vehicle to connect with audiences and find incredible emotions. On paper, A Story of Floating Weeds might seem rather simple. The vast majority of the film's 86-minute runtime is dedicated to hanging out with these characters and seeing their daily interactions. From dealing with small dramas that pop up in rehearsals to the boredom of waiting for a show, the film allows the audience to sit and understand not just the characters themselves but the worlds they live in. The film carries a transportational quality that sucks the audience into the studios and towns where these individuals spend their days.
This allows the audience to connect to the characters featured within the story on a deeper more authentic level which in return makes the drama they face all the more impactful. A Story of Floating Weeds is an analysis of the complications that come from relationships. Whether romantic or platonic, the collaboration of two minds can be both incredibly rewarding and frustrating. Especially when those two minds are not on the same page, things can become toxic and painful incredibly quickly. While the drama within A Story of Floating Weeds can read rather scandalous with affairs and emotional fights, the maturity found within the voice and craft of Ozu holds the project together allowing a deeper thesis to form.
It is almost a curse how one's happiness relies on the actions of others who can be both oblivious and inconsiderate to how their actions can affect others. While A Story of Floating Weeds lets these emotions breathe, it also makes it clear that life has to move on. This is a worthwhile and incredibly relatable piece of the human experience that Ozu is able to pull and form naturally. While the effectiveness might not quite be to the level which he will find with films like There Was a Father, it still is impressive and does connect powerfully nearly a century after the film's release.
The technical side of the film also shines bright. Ozu's early collaborator Hideo Shigehara, who worked both in the cinematography and editing of Ozu's projects until 1937, shows more hints at what is to come. From a delicate edit to unique cinematography that enhances the audience's ability to experience the world within the film for themselves, again these are pieces of the filmmaking experience that Ozu will master in future projects but already is clearly aware of and pushing this early in his career.
The only real issue one could find with the film is some of the performances. A handful of moments from the cast as a large feel a bit forced and contrived, but this really is rather minor. A Story of Floating Weeds might not be a masterpiece from Ozu but certainly is a success. The story is rich and it makes total sense why a matured and more experienced Ozu would remake the film in 1959. Where that film might be more polished and effective overall, this earlier version still works quite well and is worth the watch for anyone wanting to see just how promising some of Ozu's early work really was.