@DIEGUITO M.
Hey,
I saw your comment on late Spring about the movie being similar to Tokyo Story. As a matter of fact both movies, together with early summer are part of the Trilogy that Ozu made around the character of Noriko played by Setsuko Hara. If you take the movies in chronological order you can see an evolution in the role played by her character: in the first film (Late Spring) she is looking for a husband but then doesn't marry to stay home with his father, in the second (Early Summer) (spoiler alert, I dunno if you have seen it, i recomend you do, its my favourite Ozu of all time) she surprises everyone by marrying a widow, in the last one (Tokyo Story) she is the widow herself.
Ozu often had these recurring themes running through many different films but each film still stands as individual. i suggest however that you watch them in order for the best perspective on the master's oeuvre.
It is not a coincidence that his final film a summer's afternoon comprises almost all his themes and casts his most used actors, its very moving. Such a great director.
That aside I really like the selection of movies you choose to watch. Ozu is my favourite director in the whole world. I am working towards seeing his entire output even though he was quite prolific so i am quite some way away. His early silent comedies are beautiful!
There is a lot of confusion here it seems, regarding the relationship between the movies in this trilogy. The films are not narratively linked, however they share a common theme. Thus even though the characters share names across the movies, the settings and the events are totally different. Like in Late Spring, where her dad is a widow, but he has a big family in Early Summer.
@Dieguito: Yes. It's an independent movie. None of the events are linked. But it is thematically the same as the other films in the trilogy.
SPOILER:
@thechosenone06:
Noriko do mary in Late Spring. Her dad tricks her into it after promising that he will remarry. But he doesn't. The ending shot is of her father sitting alone in his house.
Ozu's first collaboration with the always-touching Setsuko Hara, Late Spring (1949) is also a story he'll come back to again and again with variations - a father feels he must marry off his daughter even though she's quite content living at home and taking care of him. This is an early film in Ozu's post-war output, and the war feels more present than it does in later iterations of this tale, and is more than demarcation between traditional and modern Japan. The War is more overtly referenced and characters - spouses, illegible men - are conspicuous by their absence. If Noriko is unmarried in "late spring" (at 27 years old), it's because so many young men were killed in the conflict. If she doesn't want to marry though, it's still because of the clash between tradition and modernity as exemplified by her divorced friend who lives by herself in an Americanized house. When father and daughter go to see a Nô play and contemplates leaving her father for matrimony, we feel the crushing weight of tradition on her. Ozu intercuts his domestic tableaux with nature, tradition and modernity in still life, and that scene is followed by a large ancient tree, another metaphor for tradition and in this case, family. Nariko is a pleasant-spirited lady, full of smiles and extremely content in her lifestyle. Her father (Ozu steady Chishū Ryū) loves her and sacrifices his own happiness and comfort for what he believes is her path to happiness. In doing good, they do each other harm, though you're free to believe otherwise, as we're never shown the groom, nor even the vaguest sight of her fate.
Very good movie. But watching it after Tokyo Monogatari is not recommended.. The actors are exactly the same and they seem to play the same characters (father, daughter and a sister), but it seems to be a totally independent movie.. Am I wrong? Very confusing Mr. OZU!
Fantastic, a highly cynical look at marriage as a prison.Just watched it for the second time, the film professor disagreed with my view, but her points were un-passionate and uninformed that it was hard to take her seriously.
Unfortunately, I haven't yet developed a liking for Japanese movies just yet. Perhaps once I do, I'll see the brilliance of this film. However right now, I have to give it a thumbs down.
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Comments 1 - 14 of 14
Camille Deadpan
Why do I always cry when I watch an Ozu movie. It's like a deep, sad poetry.thechosenone06
@DIEGUITO M.Hey,
I saw your comment on late Spring about the movie being similar to Tokyo Story. As a matter of fact both movies, together with early summer are part of the Trilogy that Ozu made around the character of Noriko played by Setsuko Hara. If you take the movies in chronological order you can see an evolution in the role played by her character: in the first film (Late Spring) she is looking for a husband but then doesn't marry to stay home with his father, in the second (Early Summer) (spoiler alert, I dunno if you have seen it, i recomend you do, its my favourite Ozu of all time) she surprises everyone by marrying a widow, in the last one (Tokyo Story) she is the widow herself.
Ozu often had these recurring themes running through many different films but each film still stands as individual. i suggest however that you watch them in order for the best perspective on the master's oeuvre.
It is not a coincidence that his final film a summer's afternoon comprises almost all his themes and casts his most used actors, its very moving. Such a great director.
That aside I really like the selection of movies you choose to watch. Ozu is my favourite director in the whole world. I am working towards seeing his entire output even though he was quite prolific so i am quite some way away. His early silent comedies are beautiful!
AdGuzman
I LOVE when films leave me with a feeling of calmness and happiness inside n_n
Truly amazing film and I agree with Razorblade I also enjoyed it even more than Tokyo Story!
sjeiben
There is a lot of confusion here it seems, regarding the relationship between the movies in this trilogy. The films are not narratively linked, however they share a common theme. Thus even though the characters share names across the movies, the settings and the events are totally different. Like in Late Spring, where her dad is a widow, but he has a big family in Early Summer.@Dieguito: Yes. It's an independent movie. None of the events are linked. But it is thematically the same as the other films in the trilogy.
SPOILER:
@thechosenone06:
Noriko do mary in Late Spring. Her dad tricks her into it after promising that he will remarry. But he doesn't. The ending shot is of her father sitting alone in his house.
Louis Mazzini
Absolutely brilliant! I thought it was even better than Tokyo Story.Rohit
Enough with these lame Fox hunting jokesSiskoid
Ozu's first collaboration with the always-touching Setsuko Hara, Late Spring (1949) is also a story he'll come back to again and again with variations - a father feels he must marry off his daughter even though she's quite content living at home and taking care of him. This is an early film in Ozu's post-war output, and the war feels more present than it does in later iterations of this tale, and is more than demarcation between traditional and modern Japan. The War is more overtly referenced and characters - spouses, illegible men - are conspicuous by their absence. If Noriko is unmarried in "late spring" (at 27 years old), it's because so many young men were killed in the conflict. If she doesn't want to marry though, it's still because of the clash between tradition and modernity as exemplified by her divorced friend who lives by herself in an Americanized house. When father and daughter go to see a Nô play and contemplates leaving her father for matrimony, we feel the crushing weight of tradition on her. Ozu intercuts his domestic tableaux with nature, tradition and modernity in still life, and that scene is followed by a large ancient tree, another metaphor for tradition and in this case, family. Nariko is a pleasant-spirited lady, full of smiles and extremely content in her lifestyle. Her father (Ozu steady Chishū Ryū) loves her and sacrifices his own happiness and comfort for what he believes is her path to happiness. In doing good, they do each other harm, though you're free to believe otherwise, as we're never shown the groom, nor even the vaguest sight of her fate.ediblepwncakes
One of the most beautiful films I've ever watched. Superb cinematography. For fans of Tokyo Story.boulderman
Unfortunately my original post created this moniker! http://www.icheckmovies.com/movie/the+kings+speech/page+2/Limbesdautomne
July blossomOn the arm of her father
Will flower – possibly.
Read more in French on La Saveur des goûts amers.
mightysparks
Don't hate, appreciateDieguito
Very good movie. But watching it after Tokyo Monogatari is not recommended.. The actors are exactly the same and they seem to play the same characters (father, daughter and a sister), but it seems to be a totally independent movie.. Am I wrong? Very confusing Mr. OZU!Paper_Okami
Fantastic, a highly cynical look at marriage as a prison.Just watched it for the second time, the film professor disagreed with my view, but her points were un-passionate and uninformed that it was hard to take her seriously.ClassicLady
Unfortunately, I haven't yet developed a liking for Japanese movies just yet. Perhaps once I do, I'll see the brilliance of this film. However right now, I have to give it a thumbs down.