With this simple plot, the director engages the audience in a high level of dramatization that deeply engages the minds of the audience into realizing the various issues about the dissolution of the Japanese family. In this piece, the argument that is advanced is that the director uses a high level of dramatization to depict the dissolution of the modern Japanese family. Much of the action is presented either in dialogues or presented against a backdrop that reduces the level of melancholy that the parents who are the main character face.
Mizoguchi Kenji, one of the critics of the works of Ozu said that the director depicts what should be possible as if it were possible. This is a far more difficult task than the depiction of what should not be possible as if it were a reality. It is against this backdrop that the dramatization of Ozu in his work can be understood. The ordinary Japanese films always employ the use of architectural lighting styles, elegance, and crafting of the choreography. However, the work of Ozu in Tokyo story employs a subtle yet deep and intense method of approach to the conventional issue of modern family life.
At the time of the release of the film, the subject of modern family life was a modest topic or subject to develop into a film. It meant that the content would be the ordinary issues that people faced about the idea of modernization that was slowly taking up the society. However, Ozu direction takes a keen approach to the details of the subject matter.
According to Russel, the demonstration of the keen and meticulous capture of both the modern and historical development sin the subject is what makes the film exceptional.The visitation of the parents takes a descending order from the Oldest to the youngest.