I love Wim Wenders and most of his films that I have seen. I love and venerate the films of the Japanese master Yasujirô Ozu. ‘Tokyo-Ga‘, the documentary realized in 1985 by Wenders researching the echoes of the works of the great Japanese director 20 years after his death, trying to find what was left of the landscape, characters and spirit of his movies, was of great promise to me. I confess however that one plus one in this case did not make more than two or even equal two. The film, which I have seen in a retrospective of Wenders’ earlier movies that started at the local cinematheque slightly disappointed me.
‘Tokyo-Ga‘ is conceived as a travel journal with a definite goal. Wenders tells it in the opening, actually we will hear his voice for the whole duration of the film, even relaying and translating to German what the persons he interviews have to say. He flies to Japan to find what is left of the landscape of Tokyo that inspired the films of Ozu. On the plane he sees a movie and makes an ironic remark about commercial Hollywood movies, while we have a glimpse from ‘‘On Golden Pond‘ actually not a bad film at all. The film seems to be a chronological journal of his first encounter with Japan. He meets with people who worked with Ozu and interviews them. He films almost everything he encounters – the metropolitan jungle of Tokyo in the 1980s (still looking futuristic even today), kids playing baseball in a cemetery, trains, many trains, Japanese men fascinated with electronic games, young people dancing rock in a park, a factory were the plastic models that represent dishes in Japanese restaurants are created. He meets fellow film makers and discusses cinema and the Japanese landscape with them. Some of the scenes are related vaguely with Ozu’s films (the games, the trains). Some other seem completely unrelated. Wenders had come too late in his search. The spirit of Ozu is no longer there, not in the landscape in any case. It’s another city, another country, another world. The process of change, of americanization, of fading out of the Japanese culture described by Ozu in his post-war movies had been completed.
I mostly liked the two interviews in the film – with one of his prefered actors and with the camera man. They brought back the personality of the great film maker, and also defined very well the relationship between the film director and his collaborators. The two were keeping for him the respect due to a father and master of his profession. At the same time we get from both the image of a creator who planned every detail of his films rigurously, who knew exactly why and how the film will be made, who had reached the genial simplicity of his expression by rigurous thinking and permanent cizeling of his artistic tools. Wenders’ movie ‘Tokyo-Ga‘ is very different, it’s almost spontaneous filming as things happen. We can feel the deep respect of Wenders for Ozu, but in order to understand the art of the Japanese master there is no alternative but seeing his films.