It's entirely possible that sending the audience out feeling lousy was intentional

This is a coming of age storyline that you've seen in one form or another for decades. It takes a truly unique voice to make yet another one worth watching.

This is one of the best movies I’ve seen in a very long time. You have to go and see this on the big screen.

By the time the dramatic fireworks start popping off, each one feels earned.

Viewed on DVD. Restoration = ten (10) stars. Pictorially, this film is a work of art: static scene by static scene (the camera never moves). Color cinematography is simply gorgeous . Set decoration is stunning. Costumes are eye-popping beautiful. It is by far the most end-to-end sumptuously mounted film from the "classical" period of the Japanese cinema! The director also leaves out most of his customary trademarks of ugliness (overhead power lines, clothes lines, ungainly mass transient, etc.). The script has been punched up sufficiently to hold the viewer's attention through patches of dramatic tediousness and outright boredom. Events are usually well telegraphed in advance so there are few, if any, surprises. The film is too long. There is the lingering impression that the director may have had a hard time letting go of his creation and bringing matters to an end. Acting is first rate (some actors are from the director's excellent in effect repertory company). Sound is fine and crisply captures Western-accented (Kansai-ben) dialog. Subtitles seem just right. The score copies music from the Italian cinema of the era. Best watched on a large screen to fully appreciate the artistry. WILLIAM FLANIGAN, PhD.

The story here is simple. It's about responsibility and betrayal. It's about being a coward and removing oneself from uncomfortable situations, but then expecting to pick up the pieces when someone else has done all the work. This is a masterwork of visual cinema. The camera raises a somewhat mundane story to new heights. Every shot is rife with beauty and intensity. The background images contribute to the angst that the characters are feeling. It gives us a portrayal of a group of tired actors, doing their thing, being under-appreciated but going on. When their foibles get them in trouble, they manage to land on their feet, but what does the future hold for them? It also means that unlike many films of this time, there may not be a happy ending. There may be no ending at all as the pieces must be picked up and the characters move on. Roger Ebert picked this as one of his favorite 10. It's a quite, understated but powerful two hours of great art.

This was a lovely little Japanese film about an acting troop's visit to a small town. One of the troop's members is an older man who fathered a child in this town many years ago and it has remained a secret. His arrival is greeted by the boy and his mother as a visit from an uncle, not his father. These relationships and the relationship between the man and other women in the troop are interesting. While not the very best Japanese film I've seen, the acting and direction are excellent and this film is well worth your time. However, it is possible that SOME may find the ending somewhat unsatisfying, though I did not feel that way. In other words, the typical Hollywood-style ending is NOT what you get from this movie.This film was originally made by Ozu in 1934--though oddly this version is silent. And the original is nearly identical in many, many ways. Because of this, I actually preferred the remake, though both are well worth seeing.

While seemingly rather simple, "Floating Weeds" is quite a satisfying film that combines Ozu's usual thoughtful tone with characters and atmosphere convincing enough that they almost immediately make you feel as if you know both the principals and their surroundings. Much of the running time is spent on apparently routine activities, but each scene serves a useful purpose in developing the themes, settings, and characters.The story ties together the fortunes of a traveling troupe of kabuki actors with, in the forefront, a crucial point in the relationships of Komajuro, their leader. The setting in a seaside village offers a suitably languid atmosphere that sets off both plot lines very appropriately. One of the things that is so interesting about Ozu's films is that the settings are so definitively Japanese, with plenty of well-conceived details, and yet the way that he approaches the story and characters makes his movies seem universal, confined neither by time nor place.The characters here are an interesting assortment of theatrical types and villagers. Many of them are relatively one-dimensional, but they are portrayed with skill and sensitivity, making even the simplest of them seem worth knowing. Especially good is Machiko Kyô as Sumiko, who is also the most interesting of the characters. Ganjiro Nakamura is good too as Komajuro, but Kyô usually gets the best of their scenes together.Two particularly good scenes between the two are the tense dispute in the rain and the encounter in the train station. In the former scene, Ozu's setup for the scene is a perfect complement for the characters' dialogue and actions. In the latter, the characters convey deep feelings with the most economical and satisfying of means.This is the kind of movie for which subsequent viewings might even be more enjoyable than the first, in the way that coming back to a familiar place can give you an odd sense of peace or security. And it leaves you with the feeling that it would be nice to come back again sometime.