Plot: What’s it about?
This release includes two complete motion pictures, but one is a remake of the other, so the storylines remain the same. The director of both films, Yasujiro Ozu kept close to the original when he worked on the remake, so plot differences are minimal. As such, I see no reason to do separate plot coverages, so I will write an overall synopsis. This might leave out some details from one to another, but the basic premise will remain intact. An old artisan is the head of a troupe that travels all over Japan, putting on dramatic shows to entertain the locals. This lifestyle can be harsh, as the workers have to spend much of their time on the road, which means they’re not at home with their friends and families. The leader of the troupe is no exception, though his former lover is in a distant town and now, he finds solace in a fellow troupe member. When the troupe ventures to the master’s old home village however, the potential for disaster is high. The man goes to visit his old lover, with whom he even had a child, a son he cherishes. The son isn’t aware of his father though, instead he calls him an uncle when he visits. When the man’s mistress discovers this second life, she becomes jealous and plots to avenge his misdeeds. So she persuades the troupe’s femme fatale to seduce the man’s son, but will her plan succeed?
The cinemas are overrun with remakes these days, most of which are lame, rushed takes on solid pictures. But not all remakes have to be bad, as we can learn from Criterion’s release of these two motion pictures. Then again, when a director decides to revisit and update one of his own films, that can make all the difference in the world. If that director is one of Yasujiro Ozu’s status, then we shouldn’t be concerned in the least. Ozu created A Story of Floating Weeds in 1934, when his skills were evident to be sure, but still in evolution. Then in 1959, Ozu went back to the material and gave audiences Floating Weeds. By this time, Ozu had come into his own and was at his peak, which added some spark to the production. I found the two movies to be almost identical at first glance, as not much of the material had been changed, nor had Ozu’s basic approach in terms of visuals. But in truth, the films have some differences, most of which are subtle, but there is a definite variation in overall tone. In any case, both are well crafted and effective productions, so don’t think that if you’ve seen one, you should miss the other. As part of The Criterion Collection, this release houses both versions, plus a nice selection of bonus materials. So two movies and ample insightful extras in one package, what else could you want?
Video: How does it look?
Both A Story of Floating Weeds and Floating Weeds are presented in full frame, just as intended. As usual, Criterion has used digital restoration to conjure up dynamic presentations, ones which fans will be thrilled with. The remake boasts the superior treatment of course, but both movies look excellent here. The original is seven decades old, but looks almost new in this edition, thanks to some dedication from Criterion. As the film is black & white, contrast is crucial and the black levels are in proper order at all times. The print is quite clean, with minimal defects to speak of and for a seventy year old movie, that is most impressive. A few source flaws can be seen, but the image is cleaner and sharper than I ever expected. The remake fares even better, with an almost pristine print that allows for a terrific visual presence. The colors are bright, more so than I anticipated and again, the image has more depth than expected. A double home run for Criterion here, as both movies look as good as we could want on DVD.
Audio: How does it sound?
The original is a silent film and in this edition, you can experience it with no soundtrack whatsoever. This is unusual, as even silent films are almost always given a musical score, but here, you can choose to bypass the audio options. If you want some sound however, you can enable a new score Donald Sosin, a noted silent film composer. The soft piano music seems proper for the movie, so fans should be pleased. The remake sports a newly restored mono soundtrack, so the elements have been cleaned up a shade. The material sounds good, with no serious clicks, hiss, or other age related conditions to report. In case you don’t speak Japanese, you can enable newly improved English subtitles within both pictures.
Supplements: What are the extras?
This two disc collection isn’t loaded with supplements, but what it is here is excellent, led by two audio commentary tracks. On A Story of Floating Weeds, Japanese film scholar Donald Richie lends his expertise and delivers a solid session. His comments yield information about Ozu, the cast and crew, and Japanese cinema on the whole. Richie is well prepared, but isn’t above going off topic to allow time for an off the cuff remark or two. On Floating Weeds, film critic Roger Ebert supplies a talkative and enjoyable track. I think Ebert dwells on topics for too long at times, but his perspective is most welcome here. A theatrical trailer is included for Floating Weeds, but no such luck in the case of A Story of Floating Weeds.
