I don't think its possible to accurately articulate the movie! Its so embedded in the feeling of daily life and transience of everything that communicating what it really is won't be possible until your six feet under! Its a beautiful movie that I look forward to returning to.
Being my first full Ozu, I had really high expectations on this, and while it is visually breathtaking and technically impressive for the whole two hours, I couldn't help but finding some of the situations and the characters to be somewhat dated and at times even plain annoying. But I will not deny this is a good experience, a nice little film.
A stark counter to the fluff of Good Morning, this is one of Ozu’s darkest and most mature efforts to date, featuring some of the most complex relationships in any of his major works thus far. The initial, sheer warmth and joy that perennially marks his pictures - encompassing the terrific, vibrant colour cinematography - soon develops into a most melancholy rendering of ageing and reunion by film’s end, rounding off quite a cathartic trip. I think I appreciate the final shape of the work more than I do enjoy it, but its maturity warrants admiration all the same.
Throughout his career Ozu recycled plots and characters but this gorgeous looking colour film is his only actual remake. Originally filmed in 1934, the remake was made away from his home studio Shochiku and stars Machiko Kyo - in her only Ozu film - as the mistress of the leader of a theatrical troupe, jealous of his relationship with a former lover and using the beautiful Ayako Wakao to seduce his illegitimate son..
Beside being one of the most breathtaking films visually, Floating weeds manages to tell the same story but in a more fast paced and nuanced matter.Though I still prefer the silent version, this reimagining is undoubtebly a masterpiece in it's own right. The characters are more fleshed out yet the emotional impact wasn't as strong. Ozu is one of my favorite auteurs at this point and I've only seen three of his films.