Ozu's films are sufficiently obscure for the stuck-up cinephile to use as leverage to reinforce his arguments about the fine quality of his work. Sorry, but they will never be as good as a Coppola or a Verhoeven lol. The 'family' argument is equally embarrassing. If you cared so much about family relations, you'd think you'd spend more time with your family instead of glorifying some dull-ass filmmaker. I'm out.
The film slowly reveals a complex father figure, showing how difficult it is to balance an artistic vocation with family duties; and a quality artistic vocation with an steady income. Both versions remain utterly affecting.
I don't think its possible to accurately articulate the movie! Its so embedded in the feeling of daily life and transience of everything that communicating what it really is won't be possible until your six feet under! Its a beautiful movie that I look forward to returning to.
Most times when I watch a remake, I ask myself what is the point behind it, especially when a filmmaker remakes their own film (i.e. Michael Haneke's Funny Games). But Ozu is successful in remaking his own film. He does what all the directors do wrong when remaking a film, he adds something new to the story. In this instance, it's the color addition that stands out and becomes another character. Bravo Ozu! Bravo!
Ozu is Ozu. He cant compare with other directors. He can make a good film with simple plot and story and maybe small budget. The camera works equal as an audience. Camera never move and always static. You can call it Ozu Style
(...)Ozu ist für mich der Japanischste aller Filmemacher. Er probierte sein Material immer und immer wieder, verfeinerte es, variierte es - immer behielt er dabei seinen eigenen Stil bei. Ganz so wie die alten Meister bildender Kunst in Japan. Neuland zu betreten war nichts für Ozu, wohl aber die immer wieder neue Gestaltung eines Themas. (...)
An acting troupe arrives in town but most of the drama is happening off the stage. Interesting this should pop up while I'm reading Emily St. John Mandel's 'Station Eleven', though this is the more understated of the two. Resplendent colours and gorgeous cinematography, though a little too long for its focus - a neglectful use of the supporting characters.