MUBI

“Touched by a masterpiece, a person begins to hear in himself that same call of truth which prompted the artist to his creative act. When a link is established between the work and its beholder, the latter experiences a sublime, purging trauma. Within that aura which unites masterpieces and audience, the best sides of our souls are made known, and we long for them to be freed. In those moments we recognise and discover ourselves, the unfathomable depths of our own potential, the furthest reaches of our emotions.” – Andrey Tarkovsky

Thank you, Andrey, nothing else needs to be said. <’,))(

I am glad to have spent my Sunday morning on this classic by Ozu. I was trying to think of something as delectable as this movie and could find nothing in comparison. This is probably because not only did I watch this movie but also tasted, smelt and touched it. It may sound weird but I could experience this movie with all my senses which is probably the greatest compliment for a director, not that Ozu needs any from me.

I wont get into the nitty-grittys of the plot of this movie but allow my camera to dwell on those quiet meditative moments which Ozu shares with his audience. The shot of a balloon floating up in the sky and the old couple thinking of the child who might be crying for having lost it, clouds scattered in the sky, birds chirping in their cages, characters sitting peacefully and gazing into the expanse thinking of something or the other or simply relaxing and enjoying nature. The shot of empty corridors of a house, a walk on the beach, a quiet smoke, a marriage procession and countless other observations that need no voice overs, dialogues or flashbacks. We know what the characters are thinking, we are enjoying supper with them, we share their joys and griefs; in short, we are part of the story. Ozu knew that the most peaceful yet powerful moments of life are those that are spent in quiet meditations and observations which every person can relate with. It is these moments that he shares with his audience and enraptures them in his world or rather “our” world.

Another observation that I made in this movie is the skill with which Ozu makes use of humour. There are moments in this movie that will make you laugh from the bottom of your heart which is a rare experience; It is a good-natured laughter which isn’t insulting or lewd but simply good wholesome fun. I was also impressed by the deftness with which Ozu makes use of the child actors. These children appear as real as children can be and provide a nice touch of innocent humour.

I will end this review with Setsuko Hara. Her disarming smile even in the face of adversity is probably the greatest inspiration for the audience. It effectively conveys Ozu’s philosophy: We have been happy. We have had a good life. Lets not demand too much from it and enjoy whatever pleasure we can derive from it.

This is an excellent film and I enjoyed it, but for some reason it didn’t register as much as the other Ozu film I’ve seen, ‘Late Spring.’ Noriko, the two small boys (especially the youngest) and grand-uncle came across as the warmest and most likeable of characters, while most everyone else appears distant, sullen or superficial. Of course, as the story unfolds you subtly find out why most behave the way they do (tragedy, jealousy, tradition, etc.) and in showing us Ozu masterfully makes us apart of the society and culture he’s filming. Would defintely agree that there’s not a wasted effort or effect in his style; the stationary and floor level placement of the camera made me think, at times, that I was a member of the family.

(Originally written November 15, 2004)

Yasujuro Ozu is the greatest director when it comes to connecting with the audience on a personal level. What makes his films so powerful is that he is able to do so much emotionally and artistically with very few techniques that others would consider virtuosic. There are approximately nine shots in which the camera moves, and the movement is carefully planned each time. A camera movement or facial expression is never wasted in an Ozu movie. This film examines familial relationships as most of Ozu’s films do. Actor Chishu Ryu once again proves his acting magnificent acting ability, moving from playing the son of Chieko Higashiyama in Early Summer to her husband in two years later in Tokyo Story. This film understands the harsh reality of generational differences yet is able to recognize the beauty in the world and move on. The father, played by Chishu Ryu, observes, “[My sons] take after me more and more, but only my bad side. It’s a pity.” It is lines such as these that resonate with an aching sense of honesty that people are able to relate to. Ozu’s films are about everyday people and the struggles they face, allowing the audience to make personal connections. Also consider when the child is scolded by his father for expecting his toy train tracks from his father but only receiving bread. As a result, he disrespectfully kicks the bread on the ground. While this act is selfish, the audience sympathizes with the child who leaves the house crying and wanders around alone for hours. “Children are sensitive. You shouldn’t scold them too much,” says one of the characters to Chishu Ryu. These small details help to bring out a sense of beauty to the story. Although Japanese culture plays such a crucial role in Ozu’s films of his films, his films are still powerfully universal in their messages.

I’m finding that I have to view Ozu’s movies more than one time in order to judge them with any justice. So I will have to watch this one again soon. Some of the moments in the movie with the two boys are funny. Ozu is spot-on with the mannerisms of children. I love the scene where the adults are eating cake at night, and the one boy wakes to go to the bathroom, and they all hide their cake underneath the table so the boy won’t see it.

Spoilers

(1951) Early Summer
This is definitely one of the best from Ozu I’ve seen thus far. Once again Noriko and Aya are single, and everyone wants Noriko to marry. Her boss tries to set her up with one of his old class mates, and he really is old. At 40, he’s 12 years older than Noriko, and her family doesn’t approve. But that doesn’t mean that she can just marry anyone she wants. When Noriko decides to marry an old friend of her brothers(her brother is an MIA), they immediately disaprove of her not choice; partly because he is a widower and already has a child, but mostly because they didn’t pick him. Noriko makes the right choice, and in this film Ozu is asserting that in a modern Japan it is up to the woman to choose who she will marry, and not her family. He breaks down many barriers here.

Noriko is a hero.