Yasujiro Ozu’s Passing Fancy (1933) takes us into the shitamachi, i.e. tenement neighborhood of Tokyo where factory worker Kihachi, a widower, lives with his young son, Tomio. The film opens with Kihachi watching a storyteller with his neighbors. The scene with Kihachi battling a fly are comedic. After the show, Kihachi meets Harue, a young, pretty woman who’s just last her job and has no where to go.
Not only is Kihachi moved, he’s smitten. His young neighbor Jiro kids Kihachi urging him not to get his hopes up. A lazy, uneducated jokester, Kihachi’s amusing, but you know he’ll never get ahead. Moreover, you know he’ll never get the girl. His hopes die hard. He’s unaware of Harue’s soft spot for Jiro, who rebuffs her advances. Still her continued love for Jiro means she’s never going to fall for Kihachi.
Tomio’s a good student and impudent son. His classmates taunt him and in turn, Tomio puts down his father for his illiteracy and lazy ways. The argument escalates, but Kihachi realizes his son’s situation and gives a lot of money to spend as he wishes. He hopes the windfall will alleviate the pains of their poverty however briefly. But Tomio, who’s about 9 or 10, gorges himself on sweets, which results in a critical illness. With Tomio in the hospital Kihachi, Jiro, Harue and another neighbor are brought together.
The silent film moves slowly by modern standards, but is full of touching scenes that will reward patient viewers. Ozu’s characters are engaging. I particularly liked that the boy was sometimes the model son, who has to make his drunken father get up for work, sometimes a victim and sometimes a brat. It isn’t often that children are so multi-dimensional in film.
- Roger Ebert’s essay on Ozu films.
- Criterion Collection essay on Passing Fancy & two other Ozu films.