[More like 4.5] As many others by Ozu Yasujirō, 'Ohayō' is a movie of subtle themes, consistent characters and invisible continuous actions: events unfold every few seconds, but rarely are guided by the director. The viewer isn't constantly told to notice something. Master Ozu's amazing low-P.O.V. and rich settings (i.e. alleys, hallways) are as always where life happens: not passage ways, but intersections for life.
Ozu captures transition wonderfully. A Japanese family in a state of flux post-war, the children question, unflinchingly, the widely accepted values of their parents, as they, the parents, are jocularly portrayed as being exactly as vapid as the children insist. Beautifully light, one can't help but adore each character.
Ozu’s lightest, most comical and charming film on childhood. Reminiscing his silent “I War Born, But…” only this time with color, fart jokes and television. The plot is very simple, about two boys who stop talking after their parents refuse to buy them a tv, and another boy that continuously craps his pants. An eternal delight.
When I was fifteen and seeing OHAYÔ (my first Ozu) for the first time, my effusive praise may have understandably meant very little to you, but twenty-seven years, a Master's degree in Film Studies, and the careful consideration of thousands and thousands of films later, I am still here to say that my favourite Ozu is probably still the one w/ all the fart jokes. Take that how you will.
This is my first viewing of any of Ozu's films. It was undoubtedly a marvelous experience, and one that I'll never forget. The essential beauty of it lies precisely in its simplicity: Ozu finds beauty and complexity in the utmost ordinary things: wanting a television, eating rice with your brother, watching sumo wrestling, doing some english assignments and even... farting. (Full review in the comments)
Racchiuso tra quattro pareti di un singolo set sta tutto il genio di Ozu-San, che dirige un piccolo capolavoro di una semplicità vincente. La coppia di fratelli dà il giusto buffo apporto ad una pellicola prevalentemente dialogica che fa dei pettegolezzi fra le signore giapponesi ficcanaso il tema portante. Qualche piccolo dialogo un pò vuoto fa da cicatrice ad un prodotto altrimenti quasi perfetto.
Une petite merveille de vie quotidienne dans un Japon en pleine modernisation, où des mères de famille en kimono achètent des télévisions. Ozu capte tous ces changements, qui investissent les rapports entre parents et enfants, avec une légèreté, une finesse et une bienveillance sans faille. Les personnages d'enfants, ressorts comiques du film, sont particulièrement réussis.