In 1983, Wim Wenders takes his camera to Tokyo curious to find images of Yasujirô Ozu's films 20 years after his death. Wenders sees a barren land: sleek trains, neon in abundance, pachinko parlor noise and stupefied players. Winders visits a driving range and a shop that makes wax likenesses of food for restaurant displays. At the cemetery where the ideogram for "nothingness" marks Ozu's grave, cherry blossoms are next to picnickers swilling beer. He interviews Chishû Ryû, the father figure in Ozu's films, and Yûharu Atsuta, his cameraman: a portrait emerges of an exacting filmmaker who shot in a studio with every frame, sound, and gesture planned. Ozu'sTokyo is an act of the imagination.
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Title
Artist
Tokyo-Ga
Godzilla Footsteps
Godzilla Monster Roar
Godzilla Main Title
Sentry Tower
528491
Kong the Destroyer
King Kong (reconstructed J. Morgan): Main Title
Godzilla!
Clair de Lune (As Featured in the "Godzilla: King of the Monsters" Official Trailer)
2500 Tons Of Awesome
Godzilla Title / [Godzilla]
Born From Gods
Roar! Cloverfield Overture
Suite from "Godzilla Raids Again"
Leaving Earth
Rebirth
Dominant Species
Vantage
Conquer the Fall
Creature from the Deep
Nuclear Missle
The Battle of Skull Island
Meet Braun
Colossus
Main Title / [Ghidorah, The Three-Headed Monster]
Suite from "Godzilla vs. the Sea Monster"
The Colossal Finale Part 1
Kamakilas Appears (From "Son of Godzilla")
An Attack of Monsters: Main Title (From "Destroy All Monsters")
MechaGodzilla Appears (From "Godzilla vs. the Cosmic Monster)
Godzilla Appears / [Terror Of Mechagodzilla]
Godzilla Vs. Biollante: Main Title - From "Godzilla Vs. Biollante"
Godzilla Vs. King Ghidorah: Opening And Attack On The City - From "Godzilla Vs. King Ghidorah"
Opening Titles
Godzilla Final Wars Titles
To Fight Monsters, We Created Monsters
King of the Monsters
The Opening
King Kong (reconstructed J. Morgan): Kong Escapes
Fight For Honor
The Hunt Is Coming
Deep Beneath The Pacific
King Kong (reconstructed J. Morgan): Jungle Dance
Nero Sighted
Savage of the Ancient Forest
Dragon Age Inquisition Theme
King Kong (reconstructed J. Morgan): Entrance of Kong - The Sailors - Stegosaurus
Fight For Freedom
Scythian Suite, Op. 20 - "Ala and Lolly": No. 2 The Enemy God And The Dance Of The Spirits Of Darkness
Symphony No. 10 in E Minor, Op. 93: II. Allegro
The Aliens
Not of This World
King Kong (reconstructed J. Morgan): Log Sequence
Godzilla Is Back Home
Futile Escape
King Kong (reconstructed J. Morgan): 'Hey Look Out! It's Kong, Kong's Coming!'
Godzilla
Dream Is Collapsing
Godzilla Roars - Extremely Long
User reviews
Michael Hernandez
8/10
The use of traditional Japanese instruments in the soundtrack adds a layer of authenticity and depth to the overall viewing experience.
Timothy Scott
2/10
The soundtrack of Tokyo-Ga lacks emotional depth and fails to capture the essence of Yasujirô Ozu's films. It feels disconnected from the visual storytelling and fails to enhance the viewing experience.
Dorothy Phillips
7/10
The haunting melodies of the Tokyo-Ga soundtrack perfectly capture the juxtaposition of modernity and tradition in Wim Wenders' exploration of Tokyo.
Brian Baker
5/10
The music in Tokyo-Ga complements the visuals beautifully, enhancing the emotional impact of the scenes and creating a cohesive audio-visual experience.
Andrew Young
7/10
Overall, the soundtrack of Tokyo-Ga is a masterful work of art that not only enhances the viewing experience but also stands on its own as a beautiful and evocative musical journey.
Charles Jackson
8/10
The soundtrack of Tokyo-Ga enhances the emotional impact of the documentary, creating a more immersive and engaging narrative.
Donna Clark
7/10
Each track in the soundtrack feels carefully curated to reflect the essence of Yasujirô Ozu's films and the city of Tokyo itself.
Melissa Hernandez
5/10
The soundtrack of Tokyo-Ga perfectly captures the contrasting elements of modern Tokyo, from sleek trains to neon lights, creating an immersive sonic experience.
Daniel Young
8/10
The soundtrack of Tokyo-Ga showcases a diverse range of musical styles and influences, reflecting the multicultural tapestry of Tokyo itself.
Robert Green
8/10
The music in Tokyo-Ga seamlessly transports me to the bustling streets of Tokyo, evoking a sense of wonder and curiosity.
Anthony Wilson
5/10
The use of ambient sounds like the noise from a pachinko parlor adds a layer of authenticity to the soundtrack, transporting the listener directly to the bustling streets of Tokyo.
Robert Brown
7/10
The fusion of traditional Japanese music with contemporary sounds in the soundtrack of Tokyo-Ga is a testament to the film's ability to bridge the gap between past and present.
Dorothy Lopez
7/10
The music perfectly complements the visuals, creating a harmonious blend of audio and visual storytelling that is both captivating and thought-provoking.
Patricia Wilson
6/10
The soundtrack of Tokyo-Ga skillfully blends traditional Japanese instruments with modern electronic sounds, reflecting the juxtaposition of old and new in Tokyo's landscape.
Thomas Thompson
8/10
The atmospheric and ambient sounds in the soundtrack evoke a sense of nostalgia and introspection, mirroring the themes explored in the documentary.
Andrew Taylor
5/10
Overall, the music in Tokyo-Ga is a powerful storytelling tool that helps convey the essence of Yasujirô Ozu's Tokyo and enhances the documentary's narrative.
Daniel Walker
4/10
The music choices in Tokyo-Ga often feel generic and uninspired, making it difficult to establish a strong connection between the audience and the themes explored in the documentary. The soundtrack fails to create a sense of immersion in the world of Ozu's Tokyo.
Amanda Parker
4/10
The repetitive use of certain musical motifs in Tokyo-Ga becomes tiresome and distracting, overshadowing the visual narrative that Wim Wenders is trying to convey. The lack of variety and creativity in the soundtrack diminishes the overall impact of the documentary and leaves the audience feeling underwhelmed.
