Review of Floating Weeds (1959) by Wut S — 26 Aug 2007
Stubborn love, or selfishness? Jealousy, or demanding justice? Silent wisdom, or invulnerability? The relativity of characters' decisions and relations in Floating Weeds oscillates like no other films. Nobody makes the right choice, but no one is to blame, just how life is--fluxing and controlled by sociological circumstances.
Ozu proves himself to be the master of passiveness, in a observational sense that the audience is omnipotent, yet completely powerless to the events unfolded on screen. Every decisions can be interpreted both way--does the ending suggest a hopeful romance or a self-destructive pattern? Only time could tell, but Ozu forbids any peak into the future, leaving the audience to be bewildered by the endless possibilities.
Other aspects of Floating Weeds are strong as well. The composition, playful with saturated colors, shapes, and lines, is bold, just like how Japanese culture is--refined but tense, simplistic yet persuasive.
This review of Floating Weeds (1959) was written by Wut S on 26 Aug 2007.
Floating Weeds has generally received very positive reviews.
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