museums, and theaters. In 1958, it was awarded the first Sutherland Trophy for the most original and creative film. UK critic Lindsay Anderson wrote that "It is a film about relationships, a film about time, and how it affects human beings (particularly parents and children) and how we must reconcile ourselves to its workings." After a screening at the New Yorker Theater in 1972, it received rave reviews from several prominent critics who were unfamiliar with the film or Ozu. Charles Micherer of Newsweek said it was "like a Japanese paper flower that is dropped into water and then swells to fill the entire container with its beauty." Stanley Kauffmann put it on his 10 Best list of 1972 and wrote "Ozu, a lyrical poet, whose lyrics swell quietly into the epic." Box office In Japan, it was the eighth highest-grossing film of 1953 with in distributor rental earnings. In France, the film sold 84,646 tickets upon release in 1978. In other European countries, the film sold 92,810 tickets between 1996 and 2021, for a combined tickets sold in Europe. Critical reception The film holds a 100% "Fresh" rating on the review aggregate website Rotten Tomatoes, based on 49 critical reviews, with an average score of 9.60/10. The site's consensus reads: "Tokyo Story is a Yasujiro Ozu masterpiece whose rewarding complexity has lost none of its power more than half a century on". John Walker, former editor of the Halliwell's Film Guides, places Tokyo Story at the top of his published list of the best 1000 films ever made. Tokyo Story is also included in film critic Derek Malcolm's The Century of Films, a list of films which he deems artistically or culturally important, and Time magazine lists it among its All-Time 100 Movies. Roger Ebert included it in his series of great movies, and Paul Schrader placed it in the "Gold" section of his Film Canon. Martin Scorsese included it on a list of "39 Essential Foreign Films for a Young Filmmaker." Arthur Nolletti Jr, writing an essay in the book titled Ozu's Tokyo Story compared the film to its USA predecessor film, McCarey's 1937 Make Way for Tomorrow, and indicates that: "David Bordwell sees Ozu as 'recasting' the American film – borrowing from it, adapting it – and briefly mentions that there are similarities in story, theme and plot structure. Indeed these similarities are striking. Both films focus