Though the widower Shuhei (frequent Ozu leading man Chishu Ryu) has been living comfortably for years with his grown daughter, a series of events leads him to accept and encourage her marriage and departure from their home.
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Ozu is one of the few directors who can claim to have pioneered a unique style, and when it works—Late Spring, Tokyo Story—there's nothing better. But few directors were also so content to keep making and remaking the same material. This is essentially a remake of Late Spring, interesting only when it differs in subplots. I can't help but think that every self-respecting canon needs one Ozu film, and nothing more.
I don't think I can say anything that hasn't already been said about Ozu's final masterpiece. All I'll say is, I admire Ozu for his bold proclamation that everyday life, rendered tellingly & poetically, provides more than enough drama to engage us deeply.
One of the loveliest, most gentle films I've ever seen. Possibly Ozu's best film, and I know that is saying a lot. It has some hilarious moments (everything with The Gourd and of course the salute dance thing!!!) but in the end it made me feel quite sad, but not overbearingly so. It's just frankly one of the best, farewell, Ozu-san. 5/5
sometimes i think only japanese can be so subtle while examining such serious topics. the entire problematic of gender roles in two simple sentences "you can make dinner for yourself in the kitchen. -why?"
Sauve qui peut, un soap nippon. Une musique horripilante gâche ces interminables projets de mariage ennuyeux. Le colorisation est intéressante. Ça a le gout du saké, l'odeur du saké mais ce n'est pas du saké. C'est un Canada Dry du Soleil Levant, fade et lent ...
ozu's final film about lonely aging man, i start to think that maybe this is what he feels in his final days, like chisu ryu sit alone in midnight at the ending. but the most emotional part is, the shots of empty rooms at the end. well, ozu's grave "nothingness" start to come up in my mind and makes me sad. his ellipsis editing is always genius.
What many call "gentle" and "lovely", I call dramaturgically flat. It's true that "An Autumn Afternoon" has its moments, but they are as rare as the shots in which none of the characters drink beer or sake. Only in the final scenes does one begin to sympathize with the protagonist, but it's too late for the picture to be effective. I would call it an over-confident bore, over-valued by western cinephiles.