Dans la série des radiographies du Japon d'après-guerre par Ozu, voici (entre autres choses) le problème de l'infidélité. Comme toujours, les situations évoluent lentement, assez calmement et très poliment, avec un humour de façade cachant un certain fatalisme humaniste : personne n'est vraiment heureux et tout le monde a ses raisons de faire des erreurs. Evidemment, le moralisme sous-jacent peut aussi agacer...
Ozu gets back again to everyday life of a office worker on the verge of a marital crisis and fed up with his ordinary job. it`s about disaffected nature of middle class men. ideal life is out of reach and the only device to keep life endurable is to accept it as it is. A little lengthy but still perfect.
One of the most emotionally ambiguous ending. Freed from their past mistakes, the couple simultaneously locks themselves away from their friends and are confined to 3 years in the service of a company. Death seems to persist all throughout this oddly nihilistic vision, as the memories of the dead child haunt Tokyo through the sound of crying babies in the background. Goldfish was slightly underdeveloped though.
Not as poetically tragic as Late Spring or Floating Weeds, this Ozu film is still rich and interesting for 3 aspects: the photography stood out in several spots (unusual for Ozu) with some great silhouette shots; Ozu suffocates us with very crowded frames here (especially in the office) and moves the camera (!!!) a few times in odd places; and finally the 3 brief singing scenes and comedy contrast the sorrow nicely.
Of all of Ozu's films that I've seen, this is still the one that resonates the most with me. Here he taps in to all my worst fears growing older: getting a steady corporate job, cheating on my wife, and then finally, becoming too tired to enjoy retirement.