The awkwardness comes from the incongruity of narrative and visual perspective, especially in the second half of the film.
In the second half, the rhythm of the narrative accelerates and the conflict intensifies, requiring the participation of a dynamic camera perspective, but the camera perspective always watches the progress of the narrative from an objective and neutral standpoint. Generally speaking, a silent point of view is suitable for a calm and soothing narrative to form a true and natural cinematic style, as in Hou Hsiao-hsien's films. In "Tokyo Sonata," a conflict of narrative and perspective tears apart the film.
In addition to that, there are many problems with the narrative. For example, a scene where the heroine and the thief eloped, was carefully designed and appeared deliberately contrived. Overall, this is an imperfect movie.
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