Yasujirô Ozu's first effort in technicolor leaves the vibrant pathos of different wavelengths a lot to desire. As eventless as Ozu's films might be, this one just is that much more lacking in meaning.The composition is there, the family drama as well, but I just didn't feel the emotion
other ozu movies have such plain titles as if to make this one's so a propos in their context. the seasonal metaphor is so right a way to describe this beautiful, even film that showed me everything in dual opposing motions & perspectives by the end. i love how ozu could do that
We always linger between the strive for freedom and the need to be rooted and surrounded, between the lonely individuality and the need for warmth. Thanks to a tradition of soft and tearful resignation, the father can accept his daughter's anti-traditional choices. Ozu drifts brilliantly across this paradox.
I hardly see this film as "any time any where." Yes, I think you might need to elaborate Mr. Jahnke. I felt far removed from the particular generation gap this film speaks too. I saw it as documentation of post-war Japan's emerging upper-middle class society, and a generations' desire for independence from their parents conservative ideals. A beautifully shot film. Did Ozu ever work in other aspect ratios?