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The Butterfly
Tornado Alley
This review may contain spoilers
"The past is past. Now is now."
Director Ozu tackled the very real problem of war orphans in the uplifting Record of a Tenement Gentleman. Ozu used a lost little boy to quietly open the closed hearts of people damaged by loss and deprivation and a cranky widow to shelter one not her own.
Ozu regular Ryu Chishu came home with a lost boy he’d found on a trip. His roommate refused to let the child stay with them. They hatched the brilliant idea of foisting the boy off on the neighbor widow, Tane. Tane was not welcoming to the idea of taking him in but relented for one night. After Kohei wet the bed, she reprimanded him and determined to be rid of him. After finding out the child’s father had apparently deserted him, she tried to desert him herself, but Kohei was too quick and determined for her. Slowly he began to wear her down and after another scolding when he ran away, she dropped everything to find him.
Tane was played by the talented Lida Choko. In her, we could see not only the grumpy middle-aged woman but also a widow making a living out of her home who had closed herself off emotionally. She portrayed a waterfall of emotions as the small boy broke her emotional dam. Seeing the gentleness in the boy she was unwilling to let him live the life of an alley cat. So great was her loving transformation that in the end she could cry generous tears of joy instead of selfish ones. Choko expertly played Tane’s regret at not having treated the boy with kindness from the beginning. It was a beautifully well-rounded performance.
Ozu showed the trauma of orphan children through Kohei. Silent for nearly 30 minutes after he appeared, and with very few words thereafter, the boy held everything inside. His stress over his abandonment and hostile environment came out through bedwetting at night. He observed homeless boys fishing along the water in order to feed themselves. In the final scene, Ozu showed numerous orphan boys at the base of a famous statue in Tokyo.
As always, every scene was composed and shot with exquisite care and Ozu’s teapot had its usual closeup. Not one for talking about the war much, he showed the piles of rubble lining the streets and even used in the tenements. The neighbors dealt with scarceness in post-war Japan, sharing information and food. He moved the scenes further outside as well and there was a gorgeous shot of Tane and Kohei on a beach right before she abandoned him. I admit to choking up watching the little boy race across the dunes to catch up with her.
The film closed with Tane and her neighbors all having been touched by the boy. They came to realize how selfish they had become, refraining from helping those in need. They vowed to be more generous in spirit. Record of a Tenement Gentleman was a film that teetered close to being overly sentimental, but for me it hit that melancholy heartwarming sweet spot.
11/16/22
Ozu regular Ryu Chishu came home with a lost boy he’d found on a trip. His roommate refused to let the child stay with them. They hatched the brilliant idea of foisting the boy off on the neighbor widow, Tane. Tane was not welcoming to the idea of taking him in but relented for one night. After Kohei wet the bed, she reprimanded him and determined to be rid of him. After finding out the child’s father had apparently deserted him, she tried to desert him herself, but Kohei was too quick and determined for her. Slowly he began to wear her down and after another scolding when he ran away, she dropped everything to find him.
Tane was played by the talented Lida Choko. In her, we could see not only the grumpy middle-aged woman but also a widow making a living out of her home who had closed herself off emotionally. She portrayed a waterfall of emotions as the small boy broke her emotional dam. Seeing the gentleness in the boy she was unwilling to let him live the life of an alley cat. So great was her loving transformation that in the end she could cry generous tears of joy instead of selfish ones. Choko expertly played Tane’s regret at not having treated the boy with kindness from the beginning. It was a beautifully well-rounded performance.
Ozu showed the trauma of orphan children through Kohei. Silent for nearly 30 minutes after he appeared, and with very few words thereafter, the boy held everything inside. His stress over his abandonment and hostile environment came out through bedwetting at night. He observed homeless boys fishing along the water in order to feed themselves. In the final scene, Ozu showed numerous orphan boys at the base of a famous statue in Tokyo.
As always, every scene was composed and shot with exquisite care and Ozu’s teapot had its usual closeup. Not one for talking about the war much, he showed the piles of rubble lining the streets and even used in the tenements. The neighbors dealt with scarceness in post-war Japan, sharing information and food. He moved the scenes further outside as well and there was a gorgeous shot of Tane and Kohei on a beach right before she abandoned him. I admit to choking up watching the little boy race across the dunes to catch up with her.
The film closed with Tane and her neighbors all having been touched by the boy. They came to realize how selfish they had become, refraining from helping those in need. They vowed to be more generous in spirit. Record of a Tenement Gentleman was a film that teetered close to being overly sentimental, but for me it hit that melancholy heartwarming sweet spot.
11/16/22
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