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Tokyo Twilight
1957 2h 21m R
Drama
8.1
100%
92%
76%
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Two sisters find out the existence of their long-lost mother, but the younger cannot take the truth of being abandoned as a child.
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Directed By
Yasujirō Ozu
Written By
Kōgo Noda
,
Yasujirō Ozu
Studio
Shochiku
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Cast of Tokyo Twilight
Setsuko Hara
Takako Numata
Ineko Arima
Akiko Sugiyama
Chishū Ryū
Shukichi Sugiyama
Isuzu Yamada
Kisako Soma
Teiji Takahashi
Noburo Kawaguchi
Masami Taura
Kenji Kimura
Haruko Sugimura
Shigeko Takeuchi
Sō Yamamura
Seki Sekiguchi
Kinzō Shin
Yasuo Numata
Kamatari Fujiwara
Noodle Vendor
Nobuo Nakamura
Sakae Aiba
Seiji Miyaguchi
Policeman
Junji Masuda
Baa's Guest
Eiko Miyoshi
Midwife
Teruko Nagaoka
Housekeeper Tomizawa
Mutsuko Sakura
Baa's Female Servant
Fujio Suga
Saburo Tomita
Tsûsai Sugawara
Mahjong Parlor Owner
Haruo Tanaka
Komatsu's Customer
Kumeko Urabe
Komatsu's Mistress
Kazuko Yamamoto
Yasuko Maekawa
Tomoka Hasebe
Mahjong Player
Tokyo Twilight Reviews
Old School Reviews
John A. Nesbit
Appropriately the last black and white Ozu film, Tokyo Twilight maintains his signature style despite its tragic melancholy...Beautifully photographed and framed, the story flows naturally and gently and retains hope.
Dennis Schwartz Movie Reviews
Dennis Schwartz
It plays like a Greek tragedy.
Filmcritic.com
Don Willmott
Watch it and be reminded that open lines of communication between generations are vital if an extended family is to remain intact.
New Yorker
Richard Brody
This turbulent and grim family melodrama, from 1957, is steered away from the maudlin and given emotional depth and philosophical heft under the direction of Yasujiro Ozu.
Chicago Reader
Fred Camper
This rarely screened, melancholy 1957 film, Ozu's last in black and white, is one of his best.
MovieScope
Anton Bitel
Ozu's chilliest film... certainly packs a devastating (albeit characteristically understated) emotional punch - but on the way it is occasionally marred by meandering scenes that belie the usual economy of Ozu's minimalism.
Combustible Celluloid
Jeffrey M. Anderson
Strangely, even though this is Ozu's darkest, most pessimistic film, it still has the same easy quality; we never feel bludgeoned or wrung out.
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