Tokyo-Ga

This film (drama)Also known asTokyo-Ga，is aUSA, West GermanyProducerwomen sex，At1985Released in year 。The dialogue language isEnglish, Japanese, German，Current Douban rating8.0(For reference only)。

Japanese film director Yasujirō Ozu is a highly respected master on the international film scene, with many subsequent directors from Europe and Asia acknowledging his works as inspirational and influential, including Germany's Wim Wenders. This film is Wenders' homage to Ozu, as he traveled to Japan in the mid-1980s to trace Ozu's footsteps, documenting his feelings about the city of Tokyo in a diary-like style. In 1982, at a screening in Rome, Wenders chose Ozu's "Tokyo Monogatari" (Tokyo Story, 1953) as a work that had a particularly impactful influence on his own filmmaking, which sparked the idea of creating his version of "Tokyo Monogatari." Wenders stated that this was not a pilgrimage in the sense of "searching for Ozu," although he believed that Ozu's surviving works rightly belong in the pantheon of film art. Wenders admires Ozu because Ozu, after mastering the film language promoted by America and spreading globally, could turn that around to create a completely personal landscape, allowing things to retain their original identity when filming something. Wenders summarizes his appreciation of Ozu by defining the essence of cinema as "to provide an image of humanity that is real and viable in this century, enabling people to recognize themselves." It is worth mentioning that Wenders' friend, Austrian playwright Peter Handke, has incorporated Ozu's narrative style in his writing, which is another way Wenders digests Ozu. The title of "Tokyo-Ga" signifies "Tokyo Picture," and reflects Wenders' attempt to connect his impressions of Ozu's films with Tokyo in a documentary. The film contrasts Tokyo under Ozu's lens with Tokyo thirty years later. While searching for Ozu, Wenders' touch appears subdued, almost imitating Ozu's earlier style. Wenders not only interviewed the cinematographer who worked with Ozu for twenty-five years but also filmed a pachinko parlor filled with absorbed patrons, where the steel balls squirm like terrifying insect eggs; workers repairing the stainless-steel partition fan; tourists in parks; modern young men and women learning to sing Western pop songs; and followed the wax factories that produce food samples outside restaurants, showing how workers create fake sandwiches as if they were making real ones.