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Tokyo Story: When parents are not in the coffin, no children are willing to take care of their parent-child relationship is the most fundamental type of relationship in all human social relations. "Tokyo Story", directed by Japanese film giant Yasujiro Ozu, tells such a truth. The lens is like a mirror of the demon, and the true image of each child is presented without hesitation.

author:Historically realistic

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<h1>The relationship between parents and children is the most fundamental of all human social relations. </h1>

In particular, in Eastern cultures, special emphasis is placed on emphasizing this relationship from the perspective of the extended family or family. The so-called filial piety of the hundred good is the first. Children's filial piety to their parents is the ethical tone and moral requirement of the relationship between parents and children. But not many children in reality can really meet this standard, and the real situation is much more complicated than the ideal.

Before a child is married, their parents are their closest relatives. When they are married, the status of husbands, wives, and children is far above that of their parents. When small and extended families come into conflict, most children give priority to small families. Small families are separated, and all that is left is the parents alone. The older the parents, the more perfect the small family will be, the common interests of both sides will be less and less, the feelings will become weaker and weaker, and the only thing left is the "wishful thinking" of the parents. The so-called children will be farther and farther away from their parents.

Tokyo Story: When parents are not in the coffin, no children are willing to take care of their parent-child relationship is the most fundamental type of relationship in all human social relations. "Tokyo Story", directed by Japanese film giant Yasujiro Ozu, tells such a truth. The lens is like a mirror of the demon, and the true image of each child is presented without hesitation.

This situation applies to China as well as to Japan. The cultures of the two countries are still basically homologous, and there are still many similarities in some values.

<h1>"Tokyo Story", directed by Japanese film giant Yasujiro Ozu, tells such a truth. </h1>

Ordinary life, ordinary details, realistic plot, simple plot, but particularly touching and thought-provoking. The film begins with a pair of parents going to Tokyo to see their children, using such a reason that the parents of the family naturally contact the children of the small family, resulting in a series of dramatic conflicts. The performance of each child is all displayed in the eyes of the parents.

Tokyo Story: When parents are not in the coffin, no children are willing to take care of their parent-child relationship is the most fundamental type of relationship in all human social relations. "Tokyo Story", directed by Japanese film giant Yasujiro Ozu, tells such a truth. The lens is like a mirror of the demon, and the true image of each child is presented without hesitation.

<h1>The lens is like a mirror of the demon, and the true image of each child is presented without hesitation. </h1>

Mr. and Mrs. Shuyoshi Hirayama live in Okuchi, and the couple has five children, three sons and two daughters. One of the sons died in the war. The eldest son is Koichi Hirayama, the eldest daughter is Kaneko Shizumi, the second son has died, the third son Isezo Hirayama, and the younger daughter Kyoko. Among them, the eldest son, eldest daughter and second daughter-in-law Noriko have all made their home in Tokyo, the third son works on the Osaka Railway, and the younger daughter accompanies her parents in her hometown.

Tokyo Story: When parents are not in the coffin, no children are willing to take care of their parent-child relationship is the most fundamental type of relationship in all human social relations. "Tokyo Story", directed by Japanese film giant Yasujiro Ozu, tells such a truth. The lens is like a mirror of the demon, and the true image of each child is presented without hesitation.

Seeing that they were older and had not seen their children for a long time, Mr. and Mrs. Zhou Ji chose a day and happily prepared to visit them in Tokyo. The so-called "children do not live for the expectations of their parents", their arrival not only did not make the children overjoyed, but also added a lot of troubles. For example, the eldest son wants to make room for his parents to live, occupying his child's space, which causes the little boy to cry and make trouble. The arrival of grandparents was an intrusion in their little minds. They have never lived with their grandparents since they were young, nor have they returned to their hometown to visit them, and they have no feelings for them, only strangeness and rejection.

Tokyo Story: When parents are not in the coffin, no children are willing to take care of their parent-child relationship is the most fundamental type of relationship in all human social relations. "Tokyo Story", directed by Japanese film giant Yasujiro Ozu, tells such a truth. The lens is like a mirror of the demon, and the true image of each child is presented without hesitation.

When the old couple arrived in Tokyo, they first lived in the eldest son, the Yuki family. As soon as they entered the door, although the eldest daughter-in-law was very polite, the old couple felt inexplicably restrained. In particular, the performance of the two little grandchildren who love to answer makes them feel that they are an interloper. Koichi is a doctor in a small community. When his parents came to Tokyo, he thought about taking them out for a walk, but when the next day when they were ready, someone came to him for a doctor. This was thus delayed. Zhou Ji and his wife had no choice but to take off all the clothes they had put on. Koichi said he would take them again next Monday, but he never kept his promise. In fact, my parents did not stay at their house for a few days. The daughter-in-law wants to prepare some meat and fish and other dishes for her parents to pick up, but Koichi says that she does not have to be so polite.

Tokyo Story: When parents are not in the coffin, no children are willing to take care of their parent-child relationship is the most fundamental type of relationship in all human social relations. "Tokyo Story", directed by Japanese film giant Yasujiro Ozu, tells such a truth. The lens is like a mirror of the demon, and the true image of each child is presented without hesitation.

Next, they came to the second daughter Zhiquan's house. She opened a beauty salon. The second daughter's performance was even worse. When they first arrived at their brother's house, she brought some cookies. After her parents came to her house, her husband bought some good pastries and wanted to be filial to the second elder, but he was stopped by her. She said they didn't deserve such an expensive pastry, just give them cookies. When you're done, fill the pastry in your mouth piece by piece. Later, her husband took out only one piece for his parents upstairs to eat.

What's even more infuriating is that she thinks she should take her parents to visit Tokyo, but she herself is troublesome and does not want to delay business, so she calls her second daughter-in-law Noriko, who works at the company, and asks her to take them to visit. Noriko is a widow and has a busy job, but she does not resign, but she rushes off work and asks for a day off. She works alone in Tokyo, lives in a very narrow place, and her income is not high. The eldest daughter never considered her situation and kicked her parents out like a leather ball. The eldest daughter "survived" for a day.

Tokyo Story: When parents are not in the coffin, no children are willing to take care of their parent-child relationship is the most fundamental type of relationship in all human social relations. "Tokyo Story", directed by Japanese film giant Yasujiro Ozu, tells such a truth. The lens is like a mirror of the demon, and the true image of each child is presented without hesitation.

After that, she thought of a way to send her parents to live in the Atami Hot Spring Hotel, which she called a good rest. But in fact, this hot spring hotel is more suitable for young people, and the guests inside do not have a regular life, and they do not sleep at night. After tossing and turning for a day and a night, Zhou Ji and his wife could not sleep at night, had no energy during the day, and were extremely tired. Zhou Ji's wife even had dizziness and even almost fainted. Reluctantly, they returned to Zhiquan's house the next day.

But the eldest daughter was very angry about their return. How did you guys come back so early, how nice it was to stay at the hot spring hotel. Shukichi Hirayama replied that it was good over there, but it was more suitable for young people. The eldest daughter was angry and directly said that she wanted a party tonight and needed a place. This is tantamount to driving the parents out of the way. In desperation, the second elder left his daughter's house with his luggage.

Tokyo Story: When parents are not in the coffin, no children are willing to take care of their parent-child relationship is the most fundamental type of relationship in all human social relations. "Tokyo Story", directed by Japanese film giant Yasujiro Ozu, tells such a truth. The lens is like a mirror of the demon, and the true image of each child is presented without hesitation.

After leaving the house, they wandered the streets with a heavy heart, sitting alone on the side of the road, not knowing where to go. Zhou Ji said to his wife, "The words are full of sadness. Later, he asked his wife to go to the second daughter-in-law's house for a night, and he went to visit a comrade-in-arms, hoping to stay with them for one night. However, Zhou Ji's friend's home was not spacious, and he was not left to stay. The friend led him, found another friend, and the three of them went to the tavern together and drank until most of the night. But the tavern had to close at night, and the three of them fell asleep in the tavern drunk and sleepy. The tavern owner had no choice but to call the police and ask them to send them back. Zhou Ji was then sent to the eldest daughter's house. The eldest daughter, Zhiquan, saw her drunken father and scolded and grinned a lot. He said he used to drink heavily, said he quit, but started drinking again. The so-called wine is not drunk, everyone is drunk, her father is so uncomfortable in his heart, but he just borrows wine to pour sorrow. She never reflected on herself.

Tokyo Story: When parents are not in the coffin, no children are willing to take care of their parent-child relationship is the most fundamental type of relationship in all human social relations. "Tokyo Story", directed by Japanese film giant Yasujiro Ozu, tells such a truth. The lens is like a mirror of the demon, and the true image of each child is presented without hesitation.

The next day, my parents bought a ticket and set off home. When parting, Zhou Ji's wife told the children who came to send them farewell that Tokyo was too far away and might not come in the future. Yes, it was hard to come to such a trip, and it was disgusted by everyone. Why are they still coming? On the train home, Zhou Ji's wife fell ill. Tired and in a bad mood, plus she herself is a little fat, the children bought them a crowded train, can they not get sick? In the middle, I went to Osaka to see my younger son and drank some medicine, which made me feel better. The old couple sat in a hotel near the station, discussing the children's performance. Koichi changed, and Shizumi became even more powerful. It was here that Zhou Ji said the words that made the parents of the world cone their hearts.

Tokyo Story: When parents are not in the coffin, no children are willing to take care of their parent-child relationship is the most fundamental type of relationship in all human social relations. "Tokyo Story", directed by Japanese film giant Yasujiro Ozu, tells such a truth. The lens is like a mirror of the demon, and the true image of each child is presented without hesitation.

After returning to his hometown, Zhou Ji's wife finally fell ill.

He hurriedly sent a telegram to his children, hoping that they would come back to visit them. I still remember Shizumi and Koichi's reaction when they received the telegram. Zhiquan was not in a hurry, and while fanning the fan, he complained that his mother was really sick at the wrong time. She told Koichi that this was the busiest time. That face was mean and disgusting. Koichi also casually echoed it, saying that he would arrange the patients behind him. Zhiquan also said that it was best to bring filial piety. It's really not looking forward to being good to your own mother.

When Zhou Ji's wife died, the third son, Jingsan, did not receive a telegram because he was out, did not rush back in time, and failed to see the last side of his mother. Although he knows how to be filial, he cannot accompany his parents because of his work. Just after the funeral, the eldest daughter Zhiquan began to search for some valuable things left by her mother, fearing that she would be taken away early by others. They didn't think much about their father's feelings, and they took the train back to Tokyo that morning. Although the second daughter-in-law Noriko is also very busy at work, she stays until the afternoon and does not return.

Tokyo Story: When parents are not in the coffin, no children are willing to take care of their parent-child relationship is the most fundamental type of relationship in all human social relations. "Tokyo Story", directed by Japanese film giant Yasujiro Ozu, tells such a truth. The lens is like a mirror of the demon, and the true image of each child is presented without hesitation.

The younger daughter hated these actions of theirs to the extreme. She complained to Noriko, "" Noriko advised her that they all had their own things to do, and that children would grow up farther and farther away from their parents," ", I believe that she has no malice in leaving her parents." She admits that she will become like this in the future, and all children will be like this.

Tokyo Story: When parents are not in the coffin, no children are willing to take care of their parent-child relationship is the most fundamental type of relationship in all human social relations. "Tokyo Story", directed by Japanese film giant Yasujiro Ozu, tells such a truth. The lens is like a mirror of the demon, and the true image of each child is presented without hesitation.

In the movie, although Noriko is a daughter-in-law, she treats her in-laws better than their children. She had been widowed for eight years for her deceased husband, and had never forgotten that she was the daughter-in-law of the Zhou Ji family. When she said the words of encouragement to Kyoko, she may also think in her heart that if she had a husband and children, she might become like Shizumi. In her view, this is an inevitable trend, and it is also the choice that the pressure of life forces children to make.

Tokyo Story: When parents are not in the coffin, no children are willing to take care of their parent-child relationship is the most fundamental type of relationship in all human social relations. "Tokyo Story", directed by Japanese film giant Yasujiro Ozu, tells such a truth. The lens is like a mirror of the demon, and the true image of each child is presented without hesitation.

Of course, these performances of the children above do not mean that the children really do not have the slightest affection for their parents. Feelings will fade, but they will always exist, after all, they are connected by blood. And in some special cases, this feeling will also be stimulated. When a parent has an accident, or is seriously ill, or is about to die, the children will always find out in their conscience. Ruthless and affectionate This is a basic model of children's feelings for their parents.

Zhiquan's face is ugly, but he will still make a bed for his drunken father and let him sleep peacefully. Her mother was seriously ill, and although she had brought filial piety, she still told Koichi that she hoped that this would not be the case. When his mother died, Yukiichi and Shizumi were sad. This grief cannot be disguised. Heck, human nature is so complicated, selfish and emotional.

Tokyo Story: When parents are not in the coffin, no children are willing to take care of their parent-child relationship is the most fundamental type of relationship in all human social relations. "Tokyo Story", directed by Japanese film giant Yasujiro Ozu, tells such a truth. The lens is like a mirror of the demon, and the true image of each child is presented without hesitation.

However, no matter how their children change, parents will choose to tolerate and forgive.

At tokyo station to bid farewell, Zhou Ji's wife thanked her children for their hospitality. At the station hotel, Mr. and Mrs. Shuji discuss the changes between Koichi and Shizumi, and still say that they are very happy this time. After returning home, Zhou Ji also wrote a letter to tell his children that the two were particularly happy to stay in Tokyo, and the letter was full of thank you. It was only shortly after he was sent out that his wife became seriously ill. Later, When Zhiquan asked for her mother's things, Zhou Ji was not unhappy. It is estimated that the mother under The Nine Springs will not be as calculated as Kyoko's behavior, so angry.

Tokyo Story: When parents are not in the coffin, no children are willing to take care of their parent-child relationship is the most fundamental type of relationship in all human social relations. "Tokyo Story", directed by Japanese film giant Yasujiro Ozu, tells such a truth. The lens is like a mirror of the demon, and the true image of each child is presented without hesitation.

Later in the movie, Kyoko, the youngest daughter who is giving lessons to the children, is looking out the window at the house in her hometown, looking at the train, looking in the direction of her own home, and she is scared. She probably wondered in her heart: Will I become as unsympathetic to my parents as my sister Zhiquan did, and go farther and farther away from my father? Or will he be as virtuous and filial as his sister-in-law Noriko? Is it really reality that forces children to choose between their parents and their own little family?

Tokyo Story: When parents are not in the coffin, no children are willing to take care of their parent-child relationship is the most fundamental type of relationship in all human social relations. "Tokyo Story", directed by Japanese film giant Yasujiro Ozu, tells such a truth. The lens is like a mirror of the demon, and the true image of each child is presented without hesitation.

At the end of the film, Hirayama Shukichi sits alone in the house, and the children have left again. Is it really necessary for parents to enter the coffin so that children can really gather together? Can you really notice his lonely old father?

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