It’s worth noting in Ozu films that the players nearly never embrace each other. That is not saying that Ozu is not an emotional director, because he is the most emotional of filmmakers. The emotion comes in the sincerity and longing that is expressed and made ever more powerful when the characters rarely physically touch. It makes the fathers strikes that much more devastating, and a touch on an arm more powerful.
A stunning film. One of the saddest I've ever seen, I really liked how it didn't try to excuse the fathers actions. It allowed for there to be bitterness throughout and for the movie to end with the son being bitter at him. Incredible performances throughout and as with all Ozu's, incredible camera work. One of the best films about everyday life ever and to me, a masterpiece and possibly his best.
I watched this long before his remake but I do prefer the '59 version much more. The story is practically the same and I recommend watching them together just to see how much Ozu evolved as a director.
Même si l'histoire relève du bon vieux mélo, on ne peut qu'être admiratif devant la beauté et la modernité de la mise en espace des personnages les silhouettes des femmes sont inoubliables et les plans immensément poétiques et élégants. L'univers des comédiens ambulants asociales perdus et libres à la fois rajoute de la modernité à ce film