Ozu’s hilarious Technicolor reworking of his silent I Was Born, But . . . , Good Morning (Ohayô) is the story of two young boys in suburban Tokyo who take a vow of silence after their parents refuse to buy them a television set.
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One of my favorite Ozu films that showcases his modest humor and penchant for lovely, intricate images. Good Morning confronts the formalities of 1950s Japanese society, while remaining sympathetic to its beauty.
"Bonjour" ce n'est plus des portraits sidérants de femmes, comme dans les autres films d'Ozu. Ici l'habileté du maître décrit le quotidien japonnais middle-class. Les femmes sont commères les hommes compères et les enfants poussent à la roue. Tout tombe juste avec légèreté et humour mais la modernité qui gagne le Japon promet la morosité à tous, coincés dans le petit quartier de banlieue. Amertume d'Ozu ?
my first ozu is the coziest film i've ever seen.
in the argument between the leader of the women's group and her mother, we can see a nice personification of a clash between tv and cinema.
way more than a reflection on post-modernity, this film is a complete study of human relations.
Minor movie of the Japanese master, GOOD MORNING plays with antagonisms. Ancestral vs post-WWII Japan, rebellious kids who shout and defy their parents vs adults who don't know anymore how to use words to communicate. Ozu discreetly invites us to explore these themes by showing us, on the TV screen, sumo wrestlers preparing for fight. Recommended.
My first Ozu, and while not something I can rave about, it was nonetheless engaging stylistically in terms of the use of space and also narratively in it's portrayal of two opposing generations. Not much else I have to say about this although I do sense it will grow on me even more with time.