6.5/10
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Walk Cheerfully (1930)

Hogaraka ni ayume (original title)
A small-time hood wants to go straight for a good girl but finds that starting over isn't as simple as it sounds.

Director:

Yasujirô Ozu

Writers:

Tadao Ikeda (screenplay), Hiroshi Shimizu (story)
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Cast

Cast overview:
Minoru Takada Minoru Takada ... Kenji Koyama
Hiroko Kawasaki Hiroko Kawasaki ... Yasue Sugimoto
Satoko Date Satoko Date ... Chieko
Takeshi Sakamoto ... Ono, the company's president
Nobuko Matsuzono Nobuko Matsuzono ... Yasue's sister
Hisao Yoshitani Hisao Yoshitani ... Senko
Teruo Môuri Teruo Môuri ... Gunpei
Utako Suzuki Utako Suzuki ... The mother
Kanji Kawahara Kanji Kawahara
Kenji Kimura Kenji Kimura
Chishû Ryû
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Storyline

Kenji is a small thief who likes drinking and fighting. When he falls in love with sweet and simple Yazue, and she finds out what kind of guy he really is, she leaves him 'until he becomes an honest person'. But it is not easy to get rid of one's past... Written by Anonymous

Plot Summary | Add Synopsis

Plot Keywords:

japanese noir | See All (1) »

Genres:

Crime | Drama | Romance

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Details

Country:

Japan

Release Date:

1 March 1991 (USA) See more »

Also Known As:

Walk Cheerfully See more »

Company Credits

Show more on IMDbPro »

Technical Specs

Runtime:

Sound Mix:

Silent

Aspect Ratio:

1.33 : 1
See full technical specs »
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Did You Know?

Connections

References Rough House Rosie (1927) See more »

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User Reviews

Ozu goes gangsta
13 December 2003 | by alsolikelifeSee all my reviews

A genuine rarity, an Ozu gangster movie, in which a conman falls for one of his targets, achieving redemption through love in a way that is highly reminiscent of Frank Borzage's tales of romantic salvation. Ozu achieves a variety of moods, from the playful hand signals and spontaneous dance routines that gangsters use to greet each other, to the passion of not only romantic love but fraternal devotion between the conman and his best buddy, resulting in one of his most macho movies as well as one of his most tender. Incidentally, Ozu gives a lot of visual time in this film to close-up shots of people's feet, a motif I don't quite understand in its relation to the movie but is certainly striking.


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