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In Yasujirō Ozu's 1953 masterpiece Tokyo Story, the most crucial action is made by the patriarch, Shūkichi Hirayama, when he gives his late wife’s silver wristwatch to his widowed daughter-in-law, Noriko, and urges her to remarry and find happiness.
While much of the film is characterized by a "lack of action"—the "stillness" and "emptiness" (the Zen concept of Mu)—the emotional climax occurs in the final act after the funeral of the mother, Tomi. Shūkichi presents Noriko with Tomi’s wristwatch as a memento. This action is crucial because:
Shūkichi is "helped" in making this decision by his late wife, Tomi Hirayama. Though she is deceased by the time the gift is given, the action is the fulfillment of a process she initiated earlier in the film:
The watch itself is a silver timepiece that Tomi had worn for decades. In the scene, Shūkichi sits on his porch overlooking the seaside town of Onomichi. When Noriko prepares to leave for Tokyo, he presents the watch, saying, "She [Tomi] said she wanted you to have it... It's old-fashioned, but she used it for many years." This moment bridges the gap between the living and the dead, providing the film's only real "climax" through a small, humble act of grace.
No oversights detected.
In Tokyo Story, the most crucial action is widely considered to be Shūkichi Hirayama giving his late wife's watch (specifically a pocket watch) to his widowed daughter-in-law, Noriko, and urging her to remarry. While no one physically helps him make this decision in the moment, he is spiritually guided by the memory of his wife, Tomi, who had previously expressed similar wishes for Noriko's happiness during their time together in Tokyo. Shūkichi acts on his own agency, believing it is what Tomi would have wanted ("Mother would be happy").