Ozu layers imagery in the film--traditional interior shots are collections of right angles, outdoor shots are comprised of diagonal stair-cases and train tracks, people move across streets and boats slide evenly across still water--contrasting stasis and movement. He is rightfully regarded as a master of the long take, even though his technique seems less noticeable today when compared with directors like Hou Hsiao-hsien--whose Café Lumière (2003) was produced as an homage to Ozu's film--and others. However Ozu, I believe, does not get enough credit for his dialogue, which is yet again evenly paced here. It carries the tenor of a film which is a meditation on inter-generational family relationships and the passage of time.
Tokyo Story Trailer on YouTube