Reviews (6)

Poignant study of character
Many of Ozu's films are variations on a theme, namely, parents pressuring a daughter to marry and the impact the marriage ritual has on the family. Late Spring is the first and probably finest example of this theme. In the old Japan, marriage was not an option, it was a given. But after World War Two, Japanese women became more independent in their thinking. They didn't always get their way, but they began to challenge the old ways. We can see this in Late Spring. Noriko is sweet but at the same time stubborn. She doesn't want to get married. During a trip to Kyoto, she gently pleads with her widowed father to let her stay with him. It's a touching scene that will tug at your heart.

But Late Spring is more than a movie about social change. It's a poignant study of character. The beauty of Ozu's movies is that you get to know everyone so well, as if they were members of your own family. We can understand why Noriko is content to live with her father. But we can also sympathize with her Dad who worries she will become an old maid. The ending of this movie has a beautiful sadness to it. It is one of the most moving films I've had the privilege of watching.

Late Sprin:)
Ozu Yasujiro is one of the early movie directors in Japan. Maybe because of the nature of pop culture, I didn't know about him at all until I took a movie class. Ozu's works are famous for being "very Japanese." I think this is because he dipicted ordinal people's ordinal life. This is the kind of movie you want to see again.

Asaoka Yumeji played a role of Aya and I was surpised how beautiful she was! The heroin Hara Setsuko, Noriko in the movie, was a very popular movie star back then, but she retired now. I couldnt stand her big nose and mask like smile at first though. She speaks very elegant and strange "Soune", I think. My family made fun of the way I speak for a while because I was speaking just like her! ;);) I hope you enjoy this movie!!

My Favorite Movie
This is my favorite movie by my favorite director, meaning that its the movie that touches me more than any movie I have seen.

I feel like I know the main characters, Noriko and her father, so well, their relationships, and the culture in which they exist and move. I cannot imagine a deeper potrayal of these characters as that given by Setsuko Hara as Noriko and Chishu Ryu as her father, and the supporting cast is superb. I favor movies in which character and releationship development is more important than plot, and this movie is all about character. The understatment continually present in this film, the gentleness and love of this father and daughter relationship brought out by powerful and remarkable perfomances, and the cultural context within which the characters must act result in Yasujiro Ozu's most perfect film.

The direction by Yasujiro Ozu is revolutionary and without equal, ostensibly spurning all cinematic devices, yet creating what is his and his alone, the simple, the most simple, unobstructed view that allows us to see the characters move in the physical context of each scene; to feel what they feel; and the still shots of the town, views that people who live in this town would see everyday, coupled with the background music grounds the viewer in the time and space of this personal, spiritual, and family drama. Each scene is like a masterpiece unto itself.

Yasujiro Ozu has several masterpieces, and for me, this is his most flawless and touching film.

Father and Daughter
This is one of a handful of films I consider one of the most moving ever made. Director Yasujiro Ozu has created a symphony of the emotions regarding the relationship between a father (played by Chishu Ryu) and his daughter (the great Setsuko Hara).

There is a Zen-like quality to this and Ozu's other great films -- including TOKYO STORY (1953). At salient points in the action, the camera leaves the characters and focuses upon the middle distance, with sad orchestral music welling up. I am told that this technique is an example of "mono no aware," or sympathetic sadness. Ozu does not hammer at the viewer: He knows when to pull back and let the feelings take root and start to spiral up your spine. It is an instinctive talent that few filmmakers have.

Ozu almost NEVER moves his camera, which he sets up on a short tripod about 3 feet high -- just about the height of your head if you were sitting on a tatami mat and interacting with the characters.

I saw a recent documentary about Ozu in which almost everyone who ever worked with this quiet genius broke into tears. The last shot was simply of his funeral monument, with the same sad music welling up.

Ozu was one of a kind. We shall not look upon his like again.

How many masterpieces can an artist have?
In my review of 'I Was Born But...' I brought attention to one of Ozu's subject matter motifs - estranged relationships between children and parents. Usually when the children are not kids - as in 'Late Spring' then Ozu develops this motif with the topic of marriage. In this case, the widowed father in realising his selfishness to 'keep' his daughter urges her to marry before its too late. This sudden parental wish is not without resistance from his daughter.

The fact that this film is 'post-war Ozu' provides an important contextual backdrop - that is, Japan's fascination for things American. Moreover, it is the idea of marrying for love than for traditional duty. With much parallel action at work, the narrative is consumed with trying to match Noriko with suitors. At the same time, marriage becomes conceptually compared with other characters in terms of divorce and tradition.

Again, spatial violation and mimimalistic camera shots are prevalent. Furthermore, Ozu's sense of graphic composition is superb here as each shot - be it an object or room - looks strikingly articulated. I don't want to spoil the final scene - however I will say that it is one of the finest moments in the history of cinema.

See this film and you will love the father, as you will the daughter, and even the interfering Aunt. Its not just Ozu's excellent sense of humanism but his ability to share the emotional resonance of his characters with the viewer. Wait for that final scene and be spellbound! Ironically, if it hadn't been for Ozu's estranged relationship with his father - he might never had so much tenderness to convey in his films. ... Read more

Reviews (6)

Matchmaker Matchmaker Make Me A Match
Mr. Hirayama (Chishu Ryu) congratulates his secretary on her wedding and wishes another one the same domestic bliss. But when the subject of his own daughter's marriage is touched - he is in no hurry. She is still a child. One of his friends, Mr. Kawai, sets him right: Michiko is 24. He knows the right suitor, a young doctor, and offers to act as matchmaker. The evening is long (baseball, sake) and one of their buddies, Mr. Horie, brags about his young wife. No "aid" (viagra) needed; His wife buys him just vitamines... The others crack jokes behind his back: old fool, I don't want to be like him...

Michiko greets her father ("you're drunk"). This beautiful young girl is not the subjugated "little woman" but a proficient housekeeper on her way of becoming a shrew. She has no intention to wait on her little brother Kazuo. She shrugs off Mr. Kawai's warning that she may become an old maid...Hirayama's class comrades nearly exhibit Mr. Sakuma, their old math teacher as warning what can become of a man who neglects the duty to marry his daughter. Sakumas daughter, Tomoko, restrains herself and remains polite when her father's former pupils deliver the staggering old man in his miserable noodle-kitchen. Only after they left this faded and careworn woman allows herself to cry...

Koichi, Michikos elder brother,is married to Akiko who is just as self-assured as her sister in law. When her husband bosses her around she bosses him back. Koichi touched his father for 50 000 yen - for a washing machine - and golf-clubs that his wife will not allow him to keep ("golf is a luxury for a little clerk like you"). He is sulking...Hirayama asks his daughter if she does not want to marry. He feels that he has taken advantage of her. She remains obstinate, claims that she is contented with her life, does not want to "speak about it". Hirayama asks his younger son if he "has somebody". Yes, Kazuo replies, and he suspects that Michiko "has somebody" too. Michiko visits Koichi and Akiko. Her father's matchmaking is getting on her nerves, although she is not disinclined to marry. She finds one of Koichis colleagues, Mr. Miura sympathetic...With his father's approval Koichi puts out a feeler: "Would you like to marry?". Too late! Mr. Miura was, in fact, interested, but thought that Michiko was not - and now he has another sweetheart. Michiko keeps her countenance while her father and her brother break the news gently to her. She cries only in secret. But there is still hope: Mr. Kawai's candidate, the young doctor...Too late again! His union to another girl is as good as settled...April Fool! Mr. Kawai couldn't resist his little joke...

...And the marriage does take place: Michiko is a beautiful bride and Hirayama a proud father who wishes his daughter: "Be happy". He does not plan to move in with Koichi and Akiko because "young people belong together. The old should not trouble them". He will stay at home together with his younger son. He gets drunk in a bar. People ask him if he comes from a funeral ("Something like that" he replies). Kazuo awaits him at home. "You're drunk!" "Go to sleep!" he orders his old man. Mr. Hirayama is sitting on a chair and has a look at his empty house. Now he is truly alone.

Masterpiece - what hackneyed word to describe Ozu's last film. Neither did he make use of classic sources (like Kurosawa) nor did he invent the "eastern". The problems his protagonists face are everybody's problems: How to grow up and find happiness without angering your parents, how to grow old and surviving it without angering your children...Ozu is at his best when he describes the generation gap. How did other directors capture the moment when a parent has but one duty: let go. Different perhaps; Better is impossible. Ozu is as good as Wilder when mixing drama & comedy: Hirayama meets an old wartime comrade in a bar. They deplore that the younger generation is influenced by american culture. What if Japan had won the war? ( We'd be sitting in New York. Americans would wear japanes hairdos. And they would play the shamisen while chewing gum"). The talk about aphrodisiacs and contraceptives was probably too "adult" for western audiences of the time, but sometimes dissonant parts amount to a harmonious total.

Ordinary people, extraordinary film-making
Some have called director Yasujiro Ozu the poet of the everyday. Most of his films deal with ordinary people leading ordinary lives. But what is not so ordinary is Ozu's ability to capture the essence of human relations. His characters seem so real to us, because they are reflections of ourselves and the people we know. In Ozu's final film, Samma No Aji (which literally means "the taste of mackerel"), a widower knows his only daughter must eventually leave home and marry. We watch, as he tries to deal with his growing sense of isolation and loneliness. He becomes nostalgic for the good ol' days. He hangs out at a bar run by a woman who reminds him of his late wife. A popular World War Two song, Gunkan Machi (Warship March) pervades the film. In contrast to this, his married son and daughter-in-law represent the new Japan. They are more concerned about material things like golf clubs and new appliances. There are sad moments in this film, but funny ones as well. One of my favorite scenes takes place in the bar. The widower, who was a naval officer during the war, and a former shipmate are talking. The shipmate says if Japan had won the war, American women would now be wearing geisha-like wigs and chewing gum while playing the shamisen (a Japanese musical instrument). There is no melodrama in this movie, just an honest portrayal of family life and human relations. And it's that honesty that makes watching an Ozu film such a memorable experience.

mu
You have a review by 'unhelpful' which is in need of a footnote or two. His gripe about the price relates to an earlier edition. I'm sure he'll be happy to allow that the new 20 dollar version isn't going to upset anyone in terms of price. The Japanese-release version of An Autumn Afternoon (sanma no aji) is in fact no longer than the American release. I don't know how he made that mistake.

Ozu's Late-Late Masterpiece
This film is so painfully beautiful, as Ozu's sad farewell (he died of cancer), that I found it hard to believe that New Yorker, who owns exclusive rights to so many of Ozu's films, found it necessary to cut it by almost twenty minutes. The Japanese-release version of An Autumn Afternoon is listed at 133 minutes. In Japan, the video, from Shochiku Video, sells for about $30. New Yorker retails for about twice the price, in a bowdlerized version. Save your money for future releases.

Sublime Swan Song
Ozu's final masterpiece is a such a wonderful way to end one of the most distinguished careers in filmmaking. Chisu Ryu is once again superb as a lonely widower trying to grapple with giving away his only daughter in marriage. Although the film runs the gamut of familiar Ozu themes, you never ever tire of the Ozu trick of a "good two hours spent with your neighbors". His beauty of filmmaking, which is drenched in simple joys of everyday living makes him one of the greatest humanists of world cinema, along with Ray and Renoir. Put simply, this film is "stunning visual poetry". This is an absolute "must have" for all you Ozu fans out there, and recommended for all lovers of world cinema. ... Read more

Description

Yasujiro Ozu's family comedies and dramas speak eloquently to audiences around the world.In this biting comedy, Ozu exposes the hypocrisy of the adult world.When a father (Chishu Ryu, Tokyo Story) refuses to buy a television for his sons, the two small boys take a vow of silence, refusing even to say "good morning" to a neighbor.Soon the gossipy apartment complex where they live is in an uproar--the boys' mother must be holding a grudge against her neighbors! Written by Ozu and longtime collaborator Kogo Noda, this witty film makes keen observations about communication and familial relationships.The charming performances of the young leads and a cast of Ozu regulars make it a thoroughly enjoyable experience. ... Read more

Reviews (15)

Japanese comedy comes the US
This review is for the Criterion Collection DVD edition of the film.

This film is probably the first Japanese comedy that was released in the US. It is also filmed in color which was rare for Japanese films at the time.

It is a remake of an earlier film by the same director Yasujiro Ozu titled "I was born but..." (Otona no miru ehon - Umarete wa mita keredo) The Japanese title for this film is "Ohayo".

This film is about two brothers in suburban Japan who want their parents to buy them a TV set. When their father refuses and complains that they talk too much, the brothers give everybody the silent treatment. Their "vow of silence" causes many troubles at home and at school.

The film also has some humor that would never have been shown on American TV at the time but is now even found in kid's films. The two brothers repeatedly ingest ground pumice stone because it gives them gas. The flatulence humor in this film (the sound effects are definately fake though) may have been responsible for the film to not be shown in the US until the early 60's.

It still is a great film made just as Japanese society was "westernizing" and could even be said that it was an answer to the American sitcoms of the time such as "Leave it to Beaver", "Father Knows Best" or "Dennis the Menace" (minus the intestinal gas expulsions of course!)

The DVD has no special features.

Excellent
There is nothing 'minor' or 'little' about this movie; it is thoroughly enjoyable and satisfying. Very good print quality. The more Ozu available on DVD (especially if released by Criterion), the better.

Carefree Childhood
This film describes the heroic battle that two little boys fight against their father who refused to buy them a television set. It demonstrates that persistence pays off, no matter how fierce the resistance.

Minoru Hayashi(about 12) and his little brother Isamu (about 6) live together with their parents in a little house. Impossible to keep one's privacy in this settlement. Nothing remains unobserved, everybody knows who went where and who bought what. The gossip blossoms and the phantasy of the housewives is lively. The biggest telltale is irritable and touchy Mrs. Haragushi: What has become of the dues for the women's club? Does Mrs. Hayashi suspect her of having bought her new washing-machine with the (embezzled) fees? When Mrs. Haragushi's mother reveals that she simply forgot about the receipt, her daughter takes it out on this poor old woman. She shoud go to a home for the aged, because "old people belong there". How unfair, since she needs her mother's pension...There is also Mr. Tomizawa. He worked for 30 years in wind and rain and now his pension is barely enough not to starve. He is desperate and drinks...There is also the "scandalous" family: the Maroyamas. They are slovenly and SHE has even been seen in a bar...But their household is the most popular with kids, because they have a television set. No matter how often their parents admonish them to make their homework, the boys always sneak away...

Minoru and Isamu find their life so tedious that they howl. Their father thinks that tv turns people into imbeciles; His sons think that he is just stingy and mean. When he orders them to shut up Minoru protests: What HE has to say is just as important as all those "empty phrases" adults use: good morning, how are you, etc...He calls for a speaking strike - if necessary for 100 days. Minoru and Isamu remain persisent: They make no reply when their pretty young aunt offers them cookies. Nervy to watch their parents eat those cookies and make remarks about the "wonderful silence"...Next morning they forget to greet Mrs. Haragushi who spreads the news that Mrs. Hayashi is so "revengeful". Mrs. Hayashi is astonished to get back everything she borrowed her neighbors: the bottle of beer, the bus-ticket, the fish that a neighbor's cat has stolen...The boys keep their silence during classes, and since their parents cannot understand their pantomime, they owe the school their board. Mr. Tomizawa finds a new job at last: He sells electrical appliances. Mr. Hayashi wants to help him and decides to buy his wife her long-desired washing-machine. She reminds him that his own retirement age is near - a thought he tries to repress...

Two little boys chatter happily and behave well. Their question "Will the tv be connected when we come back from school?" sounds like an order. Their father tries to make a serious face: "I hope you will work harder now" - but he can't stifle a smile...

For many decades Ozu's films were overshadowed by Kurosawa's dazzling epics that took western audiences by storm. Ozu's films were considered "too japanese": plain fare, too simple for fastidious western tastes. Only recently critics learned to appreciate their qualities. The destiny of unassuming, often humble people who tempt providence strikes the right chord - at least with me. "Typically japanese" is probably the mix of politeness and scatological humor: a little boy is not "home-trained" - the last shot shows three shorts on a clothes-line. Some scenes are very clever: a peddler and an agent for alarm-systems work hand in hand. The peddler bothers housewives ("Did he threaten you?" "Yes. He forced me to buy an expensive pencil"), then the agent calls...A running gag (The boys drink pumice-stone dissolved in water(!)) becomes life-threatening: the mother suspects rats and decides to rub the stone with poison...The performances are wonderful. Chishu Ryu is one of my favorite actors, but the actress who plays Mrs. Haragushi's mother is grandiose.

Entertaining ca. 1960 Japanese Working Class Story
This quiet little film, set in working class Japan ca. 1960, focuses on the community's children and the way they are drawn to western entertainment, i.e. television, wrestling, etc. Parents are more concerned with getting from month to month, glad to have a job, fearing financial difficulties in their old age. One neighbor's purchase of a washing machine creates mumbling among the rest of them; How could they afford this?

A side plot has one woman turn a misunderstanding into vicious rumors about a neighbor. The fact that the neighbor's children are conducting a "silence strike" only fuels the gossip.

Although visibly produced on a minimal budget, the quiet feeling of being told a bed time story is mezmerizing. The insight into the social conventions of the time and place are at times very touching. I can recommend this film particularly to students/teachers in the fields of Sociology or History. A simple film, but not without the sparcle of a little gem!****

Low-Budget, Pleasant Comedy Drama
Working Class Japanese families ca. 1960 dealing with idle gossip, the difficulties of parenthood, and "competing with the Jones'" when it comes to modern gadgets like washing machines and TV set.

The main focus is on a misunderstanding involving misplaced Union dues and the mean-spirited gossip resulting from an honest mistake. A side-plot has two little boys enter a pact of silence in protest that their parents are "too cheap" to buy a TV set, so they need not watch Wrestling and Baseball at their neighbors house. Will their "strike" pay off?

This is a simple film about simple situations in working people's homes. Given the times, the daily struggle for survival and a few modern comforts are the center of each day's discussions. To think about one's retirement is discussed among people in their prime. The much used greetings (thus the title) and constant small talk are explained as a necessary means to achieve greater things. To sell a product, or to initiate friendliness with a prospective marriage partner.

A visibly low budget, absolutely no cinematic frills and a minimal number of actors, none-the-less give the viewer a pleasant excoursion into the life of hard working people in a given place and time. The film makes you smile, laugh out loud, and it also includes moments that may tuck at your heart strings. No classic or epic, yet a very pleasant little film to bring you joy.**** ... Read more

Reviews (5)

Two pigheads are stronger than one
During a wedding celebration Mr. Hirayama (Shin Saburi) makes a humorous speech: Bride and bridegroom are already lovers, his own marriage was not a love-match...His own wife smiles and keeps silent. Other jokes are cracked: it seems that only men who are weaker than their wives beget sons - Hirayama has two daughters...

Setsuko (Ineko Arima), the elder one, is of marriageable age, a matter he is prepared to consider. He has, of course, his own conception of her future. The problem is that Setsuko has her own conception too. And so has her younger sister: "I'm going to find a husband by myself. I know many boys!". Other parents worry about their daughters too: Mr. Shotaru (Chishu Ryu), for instance: his daughter left him after a quarrel. She lives with her boyfriend and works in the "Luna-bar". Will Hirayama please inquire after her health? Her father has not the courage to face her...Hirayama's hypochondriac sister is in Tokyo too. She is hunting for a son in law. Her prey: a young doctor. She is so eager to get her daughter Yokiko married, that she is prepared to undergo a complete medical check-up. But Yokiko is smart: she feigns interest only because she thinks the trip is good for her mother's health...Setsuko and Yokiko agree: "Parents should stop acting as matchmakers". They promise to help each other. The Hirayamas make an excursion with their daughters, probably the last one before Setsuko's marriage. They remember the war. Hirayama hated it, but his wife misses the feeling of fellowship. He decided to speed up Setsuko's marriage...

...Not speedy enough: Next morning, a good-looking young man asks for his daughter's hand. He is in a hurry since he has been transfered to Hiroshima. Originally, Setsuko intended to break the news gently to her father...Hirayama grills his daughter, but she is determined to take the responsibility for her life in her own hands. Hirayama goes to the "Luna-bar" with one of his employees. This young man is well-known in this bar, and the presence of his boss pains him. Shotaru's daughter is happy with her boyfriend. She quarreled with her father because "Only his view counts". Hirayama is able to bring about a reconciliation. But he remains stubborn vis a vis his own daughter. He does not trust her: "Do you have an affair?". Yokiko pounces upon her uncle with a problem: She's in love. But her mother is against her suitor because it's not the one she selected. Since Hirayama does not think highly of his sister, he sides with his niece - and walks into her trap - her story was just fabricated; She hurries to the phone to tell Setsuko that her father consents in her marriage...Hirayama is sulking. He still opposes the marriage he did not arrange himself, and, since he cannot prevent it, he refuses to attend it. He is forced to accept congratulations and listen to his younger daughter's stories how much in love Setsuko and her intended are. Setsuko pretends that she does not mind marrying without her father's blessing, but secretly she cries. At last, Hirayama, still grumpy, agrees to be present. "For what do you need me?" Parents want to have a say...but one cannot live always in the past. When Yokiko visits her uncle again he is able to laugh at her act. She reveals that her mother only pretends to find her a husband: She is afraid to let her daughter go...Hirayama gives her the advice to take her future in her own hands because: "When children are happy, their parents are happy too". He has a bad conscience, because he did not smile once during the wedding. And now his daughter lives in Hiroshima. At last his sister has a good idea: Take the next train!

Another Ozu, another delight. My first one was love at the first sight, my fourth one is already an old acquaintance. No dissolves, the camera looks up to the faces (this makes sense, since the Japanese sit on the floor, except when they sit on the barstool, of course). The faces are familiar, and so is the scenery...Ozu's films offer intriguing insights into the fast socio-cultural changes of post-war Japan. He describes perhaps better than any other director the impact of american lifestyle on a tradition-conscious society. His protagonists are everyday's heroes, not the artistically superelevated figures of Shakespeare's plays or american westerns. I know: Kurosawa's light dazzles. But Ozu's warms.

Entertaining film
Although Equinox Flower may not be in the same league as Ozu's Tokyo Story or Late Spring, it is still a very entertaining movie. The plot centers around the Hirayama family. The father, played by Shin Saburi, seems to enjoy saying one thing, but doing another. At a wedding reception, he praises the bride and groom for choosing to marry out of love. But in his own home, the father is busy preparing an "arranged marriage" for his elder daughter. You'll no doubt smile and shake your head at his behavior.

This movie is noteworthy because of the appearance of actress Fujiko Yamamoto who earlier gained fame as the first Miss Japan. She plays a friend of Hirayama's elder daughter. There are also a few cultural jokes in this film that Western viewers may miss. In one scene, an intrusive guest named Mrs. Sasaki heads to the bathroom at the Hirayama home. She sees an upside-down broom and turns it rightside-up. In the old Japan, an upside-down broom indicated the homeowners didn't want visitors that day.

This is probably one of Ozu's funniest films, though I wouldn't necessarily label it a comedy. The story of the father is told with a sense of compassion. Rather than condemning him, Ozu allows us to watch as the ol' man slowly comes to the realization that the world around him is changing and that maybe he needs to change as well.

Start your Ozu experience with Equinox Flower
Equinox Flower was my first Ozu film. Now I have seen many of his films,but I think I was very lucky starting with this film. Equinox Flower is a bitter sweet comedy. It is not so serious as his best film Tokyo Story. It is relaxing and enjoyable. And you can learn the extreme beauty of Japanese way of life. Everything on the screen is neatly arranged and the colors are so beautiful.
Ozu had a very good taste for deep red color. He always wanted to put something red among the props. Look at Yamamoto,Fujiko's beautiful green color kimono. All the colors are not so bright and very gentle to your eyes.
Naniwa,Chieko is the funniest character in this film. Saburi,Shin played a typical Japanese gentleman here,and Yamamoto Fujiko proved to be one of the best comedienne in those days

Ozu's first color film.
Ozu's first color film is a carefully told epic about family struggles and the clash of different traditions and cultures. Being one of his trademarks, Ozu uses long shots and almost never close-ups. The rhythm of the film flows calmly and steady.

Along with Ozu's "Tokyo Story", "Equinox Flower" is one of the most precious films of world cinema and a stunning work of art that offers such great sympathy for its characters. Surely not to be missed !

ozu's first color film
as with every other major cinematic advancement ozu held out against color as long as he possibly could but his use of color in "equinox flower" and later films is just as inventive and seemingly effortless as in his black and white compositions. the director's color scheme shows up surprisingly well in this solid vhs transfer from the folks at new yorker films, whose reliability in terms of picture quality for their videos is sometimes questionable. as for the film itself the plot is a variation on the usual ozu schpiel about marriage and its consequences. the focus is, as always, more on character than plot and the film is has many well-drawn characters. "equinox flower" is highly enjoyable and certainly one of ozu's less demanding films. however, in this case it's a bit more of a curse than a blessing: in the end the film feels somewhat slight and it's not nearly as profound or memorable as ozu's best work. though i wouldnt recommend that anyone go out of their way to dig it up it's most definitely worth a look. ... Read more

Amazon.com essential video

Yasujiro Ozu's economical style reaches its zenith in this deceptively simple 1953 story of an elderly couple in rural Japan who go to visit their married children in Tokyo. Chishu Ryo (Ozu's favorite performer) and Chieko Higashiyama star as the aging parents who find a cold welcome waiting for them from their two urbanized children, too busy with work and their own lives to pay them any attention. After a miserable trip to a noisy spa, the mother spends a pleasant night with the widow of their other son (who had died in the war) while the father drinks the evening away with old friends. But on their return trip, the mother falls ill and the family reunites one last time at her sickbed. Within this simple framework, Ozu creates a quiet but profound drama of the changing face of Japanese culture and the loss of traditional values in modern society. Described by critics as Japan's most "Japanese" director, Ozu's style by this time had become firmly established: the entire film is shot from an unmoving camera 36 inches from the floor (the point of view of an observer kneeling on a tatami mat), edited in a subtly off-center manner and paced at a placid tempo. Ozu's graceful style, understated direction, and rich evocation of character creates an elegantly realized world of dignity in the face of disappointment and loss. --Sean Axmaker ... Read more

Reviews (16)

isn't life disappointing?
"Tokyo Story" is one of the saddest and most beautiful films I have ever seen. A meditation on the passage of time, on death, family and the cycles of life, its plot is simple and haunting: an elderly couple travel to Tokyo to visit their grown children, only to find that they are regarded as a nuisance. Often agonizingly non-confrontational (both in terms of the film's characters and in the way Ozu uses the camera), "Tokyo Story" speaks to the parts of us which must be kept hidden and that which we cannot say. Though its slow pace might deter some viewers, everything from Ozu's gorgeous framing and use of architectural space to the melancholic images of trains passing through the Japanese country-side is pure poetry. Godard once wrote that there are five or six films in the history of cinema which one wants to review simply by saying, 'it is the most beautiful of films,' because there can be no higher praise. "Tokyo Story" is the most beautiful of films.

DVD anyone?

A slow but beautiful film
The name Yasujiro Ozu is known by mostly (and only) extreme filmbuffs. Most of the general public has no clue who he is. This is very unfortunate. His films are not as widely accepted as another great Japanese filmmaker Akira Kurosawa. Kurosawa as many know was not see to be a great filmmaker in his homeland. He was considered too "western". Which is exactly why the American public has embraced his films. Ozu on the other hand, was seen more as a Japanese filmmaker. Sticking more to that tradition. All I want to say is "Tokyo Story" is a beautiful ( and I never use that word to describe a film!) warm, and highly emotional film. Anyone with a heart should be able to feel for the characters in this film. I've seen several tear-jerkers in my time lol. Mostly the over done Hollywood films. While, yes some of those films are good, none of them really seem as sincere as this movie. It really hits you at a gut level. The story is about two ederly people; Shukishi (Chishu Ryu) and Tomi (Chieko Higashiyama) Hirayama going to Tokyo to visit their childern, whom they never really get the chance to see since they live so far away. Once they arrive there, they are greeted somewhat coldly. Their own childern don't seem very please to see them! They feel they're such a burden to them, that instead of having them stay with them, they suggest they get a room in a spa. All of their childern and in-laws (Zen Murase, and Kyoko Kagawa) say they are too busy to do things with them. But, the funny thing is, all we see them do is sit down and fan themselves lol. I guess this was the point Ozu was trying to make. That after a while, once childern grow up, they in a way feel as if they have "no use" for their parents. They come up with excuses for not spending time with them. The ONLY person who remains nice to them is their dead son's wife Noriko. It takes a stranger to show them a good time. The screenplay here written by Ozu himself and Kogo Noda is a movie everyone can relate to, because we all have parents! Maybe, sometimes you have found yourself acting with your parents in the same selfish way these characters did. It takes a sad event to make everyone come together for a brief momemt. Ozu loved making films about topics we all can relate to. The relationships parents have with their childern (this film and "Floating Weeds"), about parents watching their childern growing up and must realize their childern will move out and get married (His final film "An Autumn Afternoon"). He dealt with things everyone can relate too. It is for this reason this movie will please not only fans of Ozu, who've come to know what to expect from him, but non fans will find something enjoyable about this movie. This is a slow, tender, warm, and touching movie. Everyone has to try and make an effort to see this film! You'll thank me in the end.

Wonderful human study with a distinct feel
If you've read anything of the description, you'll know the story doesn't appear to have any fascinating elements to it for someone who is perhaps 25 years old or younger. But if you have experienced death of a parent, or the awkwardness of dealing with grown siblings, or even dealing with embarrassing parental behavior---there is something here for you. In addition, if you are at all a History Channel buff, there is the added attraction of seeing life in postwar Japan, and what the middle-class there were doing while we were having our baby boom and moving to our "little boxes" in the suburbs. I like to look at the clothes and also see a society in a major transition while still having the influence (still felt) from American occupation. Plus if you are interested in religious and social practices, the funeral in the film is moving, and you may even come away with the Buddhist funeral chantings droning on in your head (I mean that in a GOOD way). It's kinda fun to compare this with American films about Japan made in the same period, like "Sayonara" and "Teahouse of the August Moon". And if you like this, you should see "Odd Obsession" and some of Kurosawa's contemporary films, like "High and Low".I don't know about what you learn about in 4th grade in 2003, but when I was in 4th grade we had to learn about Japan. I found it so fascinating I wanted to redo my room just like the rooms you'll see in "Tokyo Story" and I also wanted to eat Japanese-style constantly. So I rate this ichi-ban (#1)! If you're expecting some big color Douglas Sirk-style melodrama, you'll be disappointed, and the editing will seem very slow by post-MTV standards. But the actors are so good they hold your attention. I guess I made my point. Enjoy!

Its also great to see Japan in the 50's
Ozu is one of my favorite directors. He quietly stirs your heart like a meditational tea ceremony.
I especially enjoy scenes of Japan in the 50's because that is the Japan I left behind as a child. The old father in the movie represents to me a Japan I will probably never see again. He is so gentle and loving.

Profound and Moving
An elderly couple go to visit their children in Tokyo, but the children mostly don't have time for them. They learn to accept how things have come out.

Not much of a story on the surface, but the strength of the movie is the vivid portrayal of the family, the fine acting, and the emotions brought up for the viewer. If you have children--or parents--you will be deeply moved. ... Read more

Reviews (2)

Ozu's Characters Always Please
This particular gem of Ozu's is set very soon after the war and things are pretty tough for most of the population, but for lost little boys things are difficult indeed.

One little boy is blessed though by being brought back to a small community of neighbors in a "tenement". Though at first he is seen only as a hindrance and one more mouth to feed, the awakening to how hard people have become and how selfish in their quest for survival helps one particularly hardcase of a lady learn that a little shared with love becomes a lot more.

Ozu's gentle ways will always make me smile.

Not a classic but worthwhile viewing nonetheless
'Record of a Tenement Gentleman' is a lesser known Ozu film. It does not have that 'stamp of masterpiece' one often sees allocated to 'Tokyo Story' or "I Was Born But...' But it is still fine viewing nonetheless.

Putting it another way, there are some directors who at their best do well indeed - and when not at their best still do well. Jean Renoir or Terrence Malick are good cases in point - as is Ozu.

Its subject matter, character types and themes pre-empt those of the 1998 award-winning 'Central Station' by Walter Salles.It tells the story of a 'child-hating' widow (Otane) who is coerced into taking in a homeless boy (Kohei) by one of her neighbours (played by ubiquitous 'Ozuian' actor Chishu Ryu).

The film follows the developing relationship from her resentment of him to their inevitable attachement for each other. Strained relationships between children and parents (she symbolises the maternal figure)is common territory for Ozu.

His constant use of parallel action is to a lesser degree here as there are less main characters to speak of. The transition that occurs is observed through the mundaness of everyday life. The mundane aside - the film is still loaded with humour. Ozu is great for picking inappropriate times to appear funny. Without giving too much away - these moments tend to come from Otane's hardened expressions and disdain for Kohei. You feel sympathy for Kohei but at the same time you realise this is Otane's facade - her hardened exterior. Wait until you see the beach sequence and you will laugh yourself silly. One scene is perhaps inter-textually referenced by contrast in the later released 'Tokyo Story' - where the grandmother is seen playing with grandchild in long shot.

Non-diegetical music (outside the world of the characters ie score) tends to be Western while diegetical music (inside the world) is Japanese. This blend brings a wonderful fusion of East meets West. The humour working alongside the lighthearted score offers an easily palatable film. Overall, 'Record of a Tenement Gentleman' is tender in expression and poignant in heart.

For those familiar with Ozu is it unlikely this film will be disappointing since it reworks familiar themes. However, this might not be a good starting point for those unaccustomed to his cinematic style. In which case, I would suggest 'Late Spring' or 'Tokyo Story'. Finally, speaking in approximate figures - Ozu made 55 films during his career and only half of those exist today. This reduction to 28 films is further mutilated by the limited release of Ozu to about 10 films. Here, I present to you my final reason why you should see this film - part of the precious value of gems is that they are hard to come buy. ... Read more

Reviews (6)

A Gem
A true family movie about a bad father coming back to save his son from the temptations of this world. It has beautiful photography and the story is very realistic and touching.

The Quiet, Usual Ozu Masterpiece
I have only really discovered Ozu in the last year or so and in my mid-- life it is like entering a bright new world. I have recently watched Floating Weeds for the second time (having ordered it on video). The first time I thought it an unusual film- though not one of his best. I have now completely revised this opinion and consider it a supreme masterpiece. Ozu astonishes with a quiet directness I find moving , completely absorbing and exhilarating to watch. I realize the theatre troup which comes into the town, contstructs its little Kabuki world and then fades into nothing is a perfect vehicle and symbol for what Ozu is consistently portraying in all his little plays: the transient , troubling beauty of the world . The transient troubling little dramas af human relationships.The imagery in all Ozu's films(but somehow epsecially this one) make me see images as I did in childhood : a turned corner on a side street, a scene of a harbor at dusk, a slightly surprised look on the face of middle-aged woman. Many of these movies were filmed when I was a child but I believe there is more than a kind odd 1950's familiarity. There is a kind of direct , unfettered appeal to sensations it is almost difficult to name. Something immediately
innocent and guileless in ourselves. Something always,already seeing and awake. The more I watch Ozu the more I see this and nowhere more than in this film. I kept chuckling at little, scene after little scene. Tiny little nuanced moments I kept rewinding to see if I'd really seen . Anyone who hasn't seen this film: Don't just watch it once.

One of Ozu's best
This movie is actually a re-make of a silent film (Story of Floating Weeds) Ozu directed in the 1930's. The 1959 version has both sound and color. It was a collaboration between two studios, Shochiku (Ozu's film company) and Daiei. This was a rare chance for Ozu to work with Daiei's great cinematographer Kazuo Miyagawa, the man who filmed such classics as Ugetsu and Rashomon. The Daiei studio also provided some of the leading ladies of their time, Machiko Kyo and Ayako Wakao.

The acting in this movie is first-rate and the cinematography is lyrical and beautiful. Pay attention to the rich colors in this film, especially the reds. The movie tells the story of a failing troupe of Kabuki players who drift (like floating weeds) into a fishing village for their next (and ultimately last) set of performances. As the movie progresses, we learn more about the characters and their many personality flaws. But these flaws only serve to make the characters more endearing, perhaps because we can see a little of ourselves and the people we know.

Many Westerners will prefer other Ozu films like Tokyo Story or Late Spring. But make no mistake; Floating Weeds is one of Ozu's best. The acting, story-telling and cinematography in this movie all combine to create a movie classic.

MASTERPIECE
This is one of Ozu's most poignant and beautiful films. He is a master of the light touch, with slow, lyrical camera work and a story that takes its time to unfold. Terrence Malick might well have learned to tell his film stories from Ozu, who always allows the film to reveal itself at its own pace, which is neither frantic nor tedious--just natural. We can also learn a great deal about human relations, Japanese society and the world of traveling players. A brilliant film in every sense.

Quietly Powerful, Beautiful Filmmaking!!!
The films of Yasujiro Ozu always has a silent poignancy that has been unmatched in cinema. He is the creator of his own cinematic 'style'. It consists of low camera angles, no close-ups, no camera movement, the camera stays still. Probably the most quietly precise director of foreign cinema, he is know as the most 'Japanese' director of Japan's filmmakers. In this film he tells the story of an acting troupe who come to a small fishing town. To reveal more of the plot would be to deny you the dramatic impact of the film. While certainly not a technical marvel, it's raw power to move us remains untouched, and even more because of Ozu's direction. As we see the film evolve we feel him slowly coming toward us, but he doesn't creep at us, he puts his friendly hand on our shoulder and makes us feel comfortable. This film is a perfect introduction into Ozu's work, but also stands well by itself. From a scale of 1-10 I give this film a 9! ... Read more

Reviews (16)

isn't life disappointing?
"Tokyo Story" is one of the saddest and most beautiful films I have ever seen. A meditation on the passage of time, on death, family and the cycles of life, its plot is simple and haunting: an elderly couple travel to Tokyo to visit their grown children, only to find that they are regarded as a nuisance. Often agonizingly non-confrontational (both in terms of the film's characters and in the way Ozu uses the camera), "Tokyo Story" speaks to the parts of us which must be kept hidden and that which we cannot say. Though its slow pace might deter some viewers, everything from Ozu's gorgeous framing and use of architectural space to the melancholic images of trains passing through the Japanese country-side is pure poetry. Godard once wrote that there are five or six films in the history of cinema which one wants to review simply by saying, 'it is the most beautiful of films,' because there can be no higher praise. "Tokyo Story" is the most beautiful of films.

DVD anyone?

A slow but beautiful film
The name Yasujiro Ozu is known by mostly (and only) extreme filmbuffs. Most of the general public has no clue who he is. This is very unfortunate. His films are not as widely accepted as another great Japanese filmmaker Akira Kurosawa. Kurosawa as many know was not see to be a great filmmaker in his homeland. He was considered too "western". Which is exactly why the American public has embraced his films. Ozu on the other hand, was seen more as a Japanese filmmaker. Sticking more to that tradition. All I want to say is "Tokyo Story" is a beautiful ( and I never use that word to describe a film!) warm, and highly emotional film. Anyone with a heart should be able to feel for the characters in this film. I've seen several tear-jerkers in my time lol. Mostly the over done Hollywood films. While, yes some of those films are good, none of them really seem as sincere as this movie. It really hits you at a gut level. The story is about two ederly people; Shukishi (Chishu Ryu) and Tomi (Chieko Higashiyama) Hirayama going to Tokyo to visit their childern, whom they never really get the chance to see since they live so far away. Once they arrive there, they are greeted somewhat coldly. Their own childern don't seem very please to see them! They feel they're such a burden to them, that instead of having them stay with them, they suggest they get a room in a spa. All of their childern and in-laws (Zen Murase, and Kyoko Kagawa) say they are too busy to do things with them. But, the funny thing is, all we see them do is sit down and fan themselves lol. I guess this was the point Ozu was trying to make. That after a while, once childern grow up, they in a way feel as if they have "no use" for their parents. They come up with excuses for not spending time with them. The ONLY person who remains nice to them is their dead son's wife Noriko. It takes a stranger to show them a good time. The screenplay here written by Ozu himself and Kogo Noda is a movie everyone can relate to, because we all have parents! Maybe, sometimes you have found yourself acting with your parents in the same selfish way these characters did. It takes a sad event to make everyone come together for a brief momemt. Ozu loved making films about topics we all can relate to. The relationships parents have with their childern (this film and "Floating Weeds"), about parents watching their childern growing up and must realize their childern will move out and get married (His final film "An Autumn Afternoon"). He dealt with things everyone can relate too. It is for this reason this movie will please not only fans of Ozu, who've come to know what to expect from him, but non fans will find something enjoyable about this movie. This is a slow, tender, warm, and touching movie. Everyone has to try and make an effort to see this film! You'll thank me in the end.

Wonderful human study with a distinct feel
If you've read anything of the description, you'll know the story doesn't appear to have any fascinating elements to it for someone who is perhaps 25 years old or younger. But if you have experienced death of a parent, or the awkwardness of dealing with grown siblings, or even dealing with embarrassing parental behavior---there is something here for you. In addition, if you are at all a History Channel buff, there is the added attraction of seeing life in postwar Japan, and what the middle-class there were doing while we were having our baby boom and moving to our "little boxes" in the suburbs. I like to look at the clothes and also see a society in a major transition while still having the influence (still felt) from American occupation. Plus if you are interested in religious and social practices, the funeral in the film is moving, and you may even come away with the Buddhist funeral chantings droning on in your head (I mean that in a GOOD way). It's kinda fun to compare this with American films about Japan made in the same period, like "Sayonara" and "Teahouse of the August Moon". And if you like this, you should see "Odd Obsession" and some of Kurosawa's contemporary films, like "High and Low".I don't know about what you learn about in 4th grade in 2003, but when I was in 4th grade we had to learn about Japan. I found it so fascinating I wanted to redo my room just like the rooms you'll see in "Tokyo Story" and I also wanted to eat Japanese-style constantly. So I rate this ichi-ban (#1)! If you're expecting some big color Douglas Sirk-style melodrama, you'll be disappointed, and the editing will seem very slow by post-MTV standards. But the actors are so good they hold your attention. I guess I made my point. Enjoy!

Its also great to see Japan in the 50's
Ozu is one of my favorite directors. He quietly stirs your heart like a meditational tea ceremony.
I especially enjoy scenes of Japan in the 50's because that is the Japan I left behind as a child. The old father in the movie represents to me a Japan I will probably never see again. He is so gentle and loving.

Profound and Moving
An elderly couple go to visit their children in Tokyo, but the children mostly don't have time for them. They learn to accept how things have come out.

Not much of a story on the surface, but the strength of the movie is the vivid portrayal of the family, the fine acting, and the emotions brought up for the viewer. If you have children--or parents--you will be deeply moved. ... Read more

Description

A masterpiece fit to stand beside Tokyo Story, Early Summer is quintessential Ozu.Unique among all filmmakers, he developed his own beautifully restrained style by positioning his camera three feet above the floor and rejecting such techni ... Read more

Reviews (5)

"The Paradise of cinema"
Among all the at least 12 filmy by Ozu, Ilove very much, Bakushu is my favorite. It was always nonsens that Ozu made always the same film, but Bakushu has something special. At first its storytelling composed of anedotes and episodes. More than other films by Ozu, Bakushu seems to consists on a big number of HAIKUS (japanese short poems), one agter another. In all respect - there are very few like Ozu in the history of cinema. The decentralism of his storytelling can be found mostly in asian and especially japanese cinema. And the paradoxon of Bakushu is that its narrative style seems to be rather non-conventional for 1951 but on the other side, this film is Ozus most charming and most accessible film. Bakushi is exactly the "Paradise of Cinema" how Wim Wenders called the work of Ozu

A pleasant vignette - marriage and a woman's right to choose
The more Ozu films I watch, the more I fall in love with the simplicity and elegance of his storytelling. Like all his work, "Early Summer" ("Bakushu") is a beautiful snapshot of the human experience, in this case a 28-year old woman being pressured by her family to marry and balancing her own happiness with the happiness of those around her.

The tone of the film, like the weather in the title, is light and happy like a soft gentle early summer breeze. Whimsical and joyful, even while dealing with a potentially heavy subject.

Arranged marriages (O-Miyai) are still practiced in Japan today and were much more common when "Early Summer" was made in 1951. In the cases of women like Noriko (Setsuko Hara), who at 28 would be considered almost an old maid, if she hasn't found a love-match by now, it is best to arrange a marriage before she becomes too old for anyone to take her. However, Noriko is a modern woman, with ideas for her own happiness as her family will soon find out.

Ozu's simplicity is never boring, and Setsuko Hara is so completely charming that her smile can carry any story. "Early Summer" utilizes many of Ozu's principle actors, and Chishu Ryu is on hand as Noriko's older brother Koichi, although he would play her father two years later in "Tokyo Story."

Criterion's presentation of "Early Summer" is every bit the jewel you would expect it to be, with Ozu-expert Donald Richie supplying the commentary track, and a documentary called "Ozu Films from Behind-the-Scenes" detailing his working methods and camera techniques.

Classic Ozu Film
Early Summer is a variation on a seemingly perennial Ozu theme, namely, a family trying to arrange a marriage for a daughter and the daughter showing she has a mind of her own. The idea of an arranged marriage ("omiai" in Japanese) may seem strange to Western viewers. But they were quite common in Japan when this movie was made. The film centers around the character Noriko, played by Setsuko Hara (who interestingly was called the "eternal virgin" by her fans). Noriko is 28 and still single. Her boss finds a potential husband and her family gets all excited. But Noriko balks at the arranged marriage. What she eventually decides to do will likely surprise you. Keep in mind that Japan was in a period of transition when Early Summer was made. Many of the old ways, including arranged marriages, were being challenged by the younger generation.

What I enjoy most about watching this and other Ozu films is the focus on character rather than plot. We really get to know the people in this movie, as if they were members of our own family. Setsuko Hara gives an outstanding performance as the sweet but rebellious Noriko. This film is a good introduction to Ozu for people who've never seen any of his movies.

UPDATE: People who may have been hesitant to purchase this movie because it's only on VHS will be pleased to know that Criterion has acquired the rights to several Ozu classics, including Early Summer, Tokyo Story and Floating Weeds. According to a recent Criterion press release, the first DVD release of these titles is scheduled for the fall of 2003.

now my favorite
Ozu is a aquired taste to be sure. If you just open yourself to the quiet beauty of the film, you will be rewarded.

The "trancendent moment" here is the future mother-in-law arranging the marriage directly with Noriko. She regains her social position, makes her family whole, makes a mother for her grandaughter and a wife for her still greiving son, by breaking through the codes of politeness and indirectness.

It is a moment of modernity in a culture caught in-between. It is a moment of total change for perhaps a dozen people, but it is not a crisis or a catharsis - just the opposite.

Films do not have to Thrill and Manipulate (E.T. anyone?) to have a lasting profound effect on your life. Some great art is almost invisible......

Ozu in peak form
Early Summer is a classic Ozu piece, and will probably rank as one of his best works. A sensitively rendered portrait of an "old maid" under severe pressure from her family to get married, Setsuko Hara gives a heartbreaking performance in this beautiful, subtle, elegant and witty piece set in post-world war II Japan. Although the film does suffer from a few editing problems, it represents the world's greatest humanist director at the peak of his craft, producing a lovely, stirring, emotional drama. An absolute must for Ozu fans, and for all others, just check this one out (much cheaper than all the New Yorker Ozu videos)first to see what you are missing. Superb! ... Read more

Reviews (16)

isn't life disappointing?
"Tokyo Story" is one of the saddest and most beautiful films I have ever seen. A meditation on the passage of time, on death, family and the cycles of life, its plot is simple and haunting: an elderly couple travel to Tokyo to visit their grown children, only to find that they are regarded as a nuisance. Often agonizingly non-confrontational (both in terms of the film's characters and in the way Ozu uses the camera), "Tokyo Story" speaks to the parts of us which must be kept hidden and that which we cannot say. Though its slow pace might deter some viewers, everything from Ozu's gorgeous framing and use of architectural space to the melancholic images of trains passing through the Japanese country-side is pure poetry. Godard once wrote that there are five or six films in the history of cinema which one wants to review simply by saying, 'it is the most beautiful of films,' because there can be no higher praise. "Tokyo Story" is the most beautiful of films.

DVD anyone?

A slow but beautiful film
The name Yasujiro Ozu is known by mostly (and only) extreme filmbuffs. Most of the general public has no clue who he is. This is very unfortunate. His films are not as widely accepted as another great Japanese filmmaker Akira Kurosawa. Kurosawa as many know was not see to be a great filmmaker in his homeland. He was considered too "western". Which is exactly why the American public has embraced his films. Ozu on the other hand, was seen more as a Japanese filmmaker. Sticking more to that tradition. All I want to say is "Tokyo Story" is a beautiful ( and I never use that word to describe a film!) warm, and highly emotional film. Anyone with a heart should be able to feel for the characters in this film. I've seen several tear-jerkers in my time lol. Mostly the over done Hollywood films. While, yes some of those films are good, none of them really seem as sincere as this movie. It really hits you at a gut level. The story is about two ederly people; Shukishi (Chishu Ryu) and Tomi (Chieko Higashiyama) Hirayama going to Tokyo to visit their childern, whom they never really get the chance to see since they live so far away. Once they arrive there, they are greeted somewhat coldly. Their own childern don't seem very please to see them! They feel they're such a burden to them, that instead of having them stay with them, they suggest they get a room in a spa. All of their childern and in-laws (Zen Murase, and Kyoko Kagawa) say they are too busy to do things with them. But, the funny thing is, all we see them do is sit down and fan themselves lol. I guess this was the point Ozu was trying to make. That after a while, once childern grow up, they in a way feel as if they have "no use" for their parents. They come up with excuses for not spending time with them. The ONLY person who remains nice to them is their dead son's wife Noriko. It takes a stranger to show them a good time. The screenplay here written by Ozu himself and Kogo Noda is a movie everyone can relate to, because we all have parents! Maybe, sometimes you have found yourself acting with your parents in the same selfish way these characters did. It takes a sad event to make everyone come together for a brief momemt. Ozu loved making films about topics we all can relate to. The relationships parents have with their childern (this film and "Floating Weeds"), about parents watching their childern growing up and must realize their childern will move out and get married (His final film "An Autumn Afternoon"). He dealt with things everyone can relate too. It is for this reason this movie will please not only fans of Ozu, who've come to know what to expect from him, but non fans will find something enjoyable about this movie. This is a slow, tender, warm, and touching movie. Everyone has to try and make an effort to see this film! You'll thank me in the end.

Wonderful human study with a distinct feel
If you've read anything of the description, you'll know the story doesn't appear to have any fascinating elements to it for someone who is perhaps 25 years old or younger. But if you have experienced death of a parent, or the awkwardness of dealing with grown siblings, or even dealing with embarrassing parental behavior---there is something here for you. In addition, if you are at all a History Channel buff, there is the added attraction of seeing life in postwar Japan, and what the middle-class there were doing while we were having our baby boom and moving to our "little boxes" in the suburbs. I like to look at the clothes and also see a society in a major transition while still having the influence (still felt) from American occupation. Plus if you are interested in religious and social practices, the funeral in the film is moving, and you may even come away with the Buddhist funeral chantings droning on in your head (I mean that in a GOOD way). It's kinda fun to compare this with American films about Japan made in the same period, like "Sayonara" and "Teahouse of the August Moon". And if you like this, you should see "Odd Obsession" and some of Kurosawa's contemporary films, like "High and Low".I don't know about what you learn about in 4th grade in 2003, but when I was in 4th grade we had to learn about Japan. I found it so fascinating I wanted to redo my room just like the rooms you'll see in "Tokyo Story" and I also wanted to eat Japanese-style constantly. So I rate this ichi-ban (#1)! If you're expecting some big color Douglas Sirk-style melodrama, you'll be disappointed, and the editing will seem very slow by post-MTV standards. But the actors are so good they hold your attention. I guess I made my point. Enjoy!

Its also great to see Japan in the 50's
Ozu is one of my favorite directors. He quietly stirs your heart like a meditational tea ceremony.
I especially enjoy scenes of Japan in the 50's because that is the Japan I left behind as a child. The old father in the movie represents to me a Japan I will probably never see again. He is so gentle and loving.

Profound and Moving
An elderly couple go to visit their children in Tokyo, but the children mostly don't have time for them. They learn to accept how things have come out.

Not much of a story on the surface, but the strength of the movie is the vivid portrayal of the family, the fine acting, and the emotions brought up for the viewer. If you have children--or parents--you will be deeply moved. ... Read more

Reviews (6)

funny!
it was my first time to watch a silent movie and i thought this movie was quite fun! this movie is based on the time frame that when Japan's economy grew and more people moved to a big city to work; emergence of white collar workers. the ordinal family decided to move outside the city in order to live closer to father's boss. the story tells us how kids encounter this change and society.

in one part, a kid forgot to bring his chopsticks. this was pretty funny and it reminds me my school days. now, most of the elementary schools provide lunch. but my high school didn't so I had to bring lunch box every day along with chopsticks. i sometimes forgot to bring chopsticks and I can't forget that feeling "oh Shoot!"

The director Ozu is a leading figure in early Japanese films. I think it is pretty amazing that he was sucessful in both silent movies and voiced ones. His camera is always low angle. And, he controlled so much what should be in screen. He uses a long shot inbetween for transition porpose.

I hope you will like this movie;)

Silent Japanese Film??? I'm kidding, right?
No Kidding, if you have any sense of humour you'll love this film. Now I am an admitted Ozu film lover, which means I find his unique cinematography of a camera that isn't darting all over the place and shots at low levels that make you feel like you are standing (or sitting) there watching what is going on, a very enjoyable way of viewing a film.

I also love his simple stories that everyone can relate to, his people are just like our friends, neighbors and families, some of them are sweet, some are stinkers, and many are just doing their best to cope with every day's challenges in life.

But a silent Ozu? I was a little wary, but I did put it on my wishlist, and I'm so glad I did and that one of my sweet relations gave it to me for my birthday, because it is one of Ozu's best! Ozu's films are always full of gentle and sometimes silly fun and this one did not disappoint. The two brothers are real characters and along with the kids they meet up with in their new neighborhood, it really was like watching a Japanese version of the Little Rascals. Did you know eating raw sparrow's eggs will make you strong?

It soon appears that they get their sense of humour from their father, though as usually happens, they are not as appreciative of it in him. And as with all Ozu films, we are left with the feeling that we are all pretty much the same no matter where we come from or even when we lived and we find a good deal of comfort in knowing that as the world changes we can still appreciate the things that never do. You'll hate yourself if you don't see it!

One of the best films ever made
This is simply one one of the finest films ever made. This is the kind of film that reminds you of what a powerful and touching medium film can be (something that is easy to forget after watching too many mediocre films). I Was Born But is both funny and touching, it features some of the finest acting and direction I have ever seen. You really have no idea how good film can be until you have seen this movie.

One of Ozu's best films
It is a shame that the availability of Ozu films is not more widespread. 'I Was Born But...' exemplifies the concern for family relationships by one of the great masters of Japanese cinema. This film being silent should not be seen as an obstacle (nor should any silent film). It echoes the charming pathos and humour one might expect from a Charlie Chaplin classic.

The film tells the story of a family who relocate to suburban Tokyo. The two sons conflict with the local bullies - one of which is their father's boss's son. The boys deal with the local bullies only to 'lose face' over their father acting like a clown. What arises from this becomes a motif for Ozu - the estranged relationship between children and parents. For Ozu this is part of everyday life and is somewhat auto-biographical in thought as his own relationship with his father was also estranged. Further exemplified, is Ozu's motif of spatial violation and parallel action.

Ozu is the anti-thesis of the Hollywood blockbuster and he possesses a narrow choice of camera positions. Nowhere is the expression "less is more" more appropriate than here. While there is a rare use of a tracking shot, Ozu tends to prefer the static camera and usually shoots from the tatami mat. This sense of mimimalism seems entirely appropriate given that the film spends much time observing the boys everyday encounters.

This great filmmaker has a knack for expressing the tender beauty of everyday life and minimal expression. However, the sense of observation one feels is always pervaded with subtle touches of humour and emotional resonance - that it is impossible to become bored with it. I bless my lucky stars for the offerings that Ozu brought to the world of filmmaking.

Quintessential Ozu Masterpiece
The release of "I was Born But" last year on video is such good news for all the Ozu fans, because this is his silent classic, as "Tokyo Story" is his "Family Cycle" classic. The film is also a warm, gentle, and humorous exploration of the innocence of childhood and the double-standards of adults. The film is silent, but no sound is needed, since the visual impact is so stunning! Do not let the steep price stop you from getting a copy. The price will never come down, and you know what, it may well be soon out of print. So grab your copy of this little seen gem fast, and you will find yourselves enveloped in this touching and funny exploration of the pains of growing up, certainly one of the best silent movies ever! Ozu reworked this film in "Good Morning", but was not as successful. ... Read more