The most light hearted of the Noriko trilogy with the most humor and overt teasing while still dealing with big themes in a serious manner. It's incredible how much Ozu can spin the same basic cast of actors, plot line, setting and overt technique while still saying something new. Just as Ozu showcases the importance of subtle gradual changes in life so too can one marvel at his subtle cinematic gestures.
Ozou, nous installe dans un coin de la maison, à regarder vivre cette famille et du simple quotidien il fait une fable immense, . Il s'y joue les grands bouleversements du Japon moderne, et sur le plus sensible des sujets: amour et liberté de femmes, le maitre du cinéma japonnais tisse une œuvre douce et amère faite d'espoir et de résignation; Du grand art.
Much funnier than I was expecting. Noriko is 27 and her family is pushing for her to get married. It certainly passes the Bechdel test and the scenes with her unmarried friend are great, as they tease their married friends - great comic performances. There is also so much emotion in all of the relationships - the scene on the beach near the end is powerful.
Love this. The ordinariness of the family. The bossy brother who comes around to his sister's choice. The wife who holds things together. An old married couple who love each other. Walking on the beach. Every little community has its golden moment, then it disperses as its members have to move on.
Another masterstroke from the genius that was Ozu Yasujiro. Also one of Hara Setsuko's finest performances. The "Noriko Trilogy" stands out as three of the greatest films ever made, not just of their particular era. It would be a dream come true to view Early Summer in a cinema setting.
TAMBÉM FOMOS FELIZES, porque um autor completo com suas constantes temáticas e estilísticas, pode ser visto em um único filme, um macrofilme cujas obras singulares são apenas variações sobre um mesmo tema, o retrato da sociedade japonesa com as mudanças ocorridas depois da Segunda Guerra Mundial | André Setaro