Use of Tracking Shots (Adam Davis)



As others have observed, one of the things that gives Tokyo Story its unique visual style is the lack of camera movement. However, there are two points in the film, which occur in close succession with one another, where tracking shots are employed. I think these deviations from the overall style of the film must have a purpose, and would like to offer a theory about what that might be.

I think it’s important to consider the context of these tracking shots. The first one occurs in what could be considered the emotional low point of the entire film, just after Shukishi and Tomi have returned from their disappointing trip to Atami only to find themselves unwelcome in Shige’s house. As they prepare to leave Shige’s, it’s clear that they’re having some trouble to retaining their characteristic graciousness. Trying to add some levity to the situation, Shukishi says, “We’re really homeless now,” and laughs, but it seems very forced.

In the next scene, the camera moves along a stone wall until Tomi and Shukishi come into view, sitting in a park eating their lunch. A few shots later, they look out over Tokyo and Tomi says, “If we got lost, we’d never find each other again.” Then, they continue walking and the camera moves with them. The fact that these shots occur in such close proximity with one another indicates that they share the same purpose, which I think must be related to the way Tomi and Shukishi are feeling.

   It seems to me that the motion of the camera adds a sense of instability to the film, especially in contrast with the stillness that has defined the camerawork up to this point. The first of the two tracking shots occurs directly after Shukishi’s observation that they are homeless. They have lost the sense of stability that comes from having a home and a family to rely on. They feel as if they’ve been unmoored and set adrift in Tokyo, and the camera reflects this feeling. This sensation is heightened by Tomi’s worry about getting lost in Tokyo, which she expresses just before the second tracking shot.

I don’t know whether or not this is significant, but I also noticed that the camera moves along a wall in both tracking shots. Maybe it’s just coincidence, but on the other hand, maybe the camera clinging to the wall is meant to reflect the way we cling to the structures (such as family) which protect us from the rest of the world. This speculation seems especially plausible in the second tracking shot, when the wall is separating Tomi and Shukishi from the vast expanse of Tokyo. I'm not sure about this last part, but I’m convinced at least that these tracking shots are meant to convey the instability and disorientation that results from Tomi and Shukishi’s feeling that they’ve been abandoned by their family.

Comments

  1. Krishnan VenkateshNovember 26, 2021 at 8:16 PM

    A very sensitive "reading" of these shots. I agree with you. The disorientation is the same deep, human one that King Lear experiences: when one is seen as no longer offering pleasure, profit, or excellence, then even family ties weaken -- and we can no longer count on the stability of family relationship. But that second shot is SO beautiful -- as if the loss opens us up to a different kind of beauty.

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