The film portrays which such intensity and beauty a father-daughter relationship. It was such a pleasure to watch, every frame was perfection. It also allowed me to discover Setsuko Hara who enlightens the screen with her smile every time she appears, while still conveying strong emotions to the viewers. I'm so happy to have discovered this movie!
The perfect stillness coming from the sets - all of which look absolutely dazzling in Criterion's restored version - mirror the elegant and composed demeanors of the characters, and when Ozu purposefully tarnishes this dual porcelain-like perfection even in the tiniest of ways, it has more stopping power than all of the explosions of a Michael Bay and Marvel movie combined. Loved it!
"Ozu films are about the ordinary daily lives of common people." Not sure where the creativity is in the word 'ordinary'? It reminds me of undergrad literature classes and reading this navel-gazing, pseudo-intellectual bullshit posing as supreme insight into the human condition. But earthiness and a lack of urgency gives it a dry pedestrian quality. Not my idea of an emotional experience. But boxed thinking.
Trust the shot. That is a lesson not enough film directors have learnt, and one that explains why Ozu, more than half a century after his death, remains one of the great storytellers of cinema. https://medium.com/the-flickering-wall/trust-the-shot-the-japanese-zen-master-said-6f738eb16cfe
Obsessed with how Ozu shoots interiors, performance spaces where his characters, in their mannered, poised ways, move through his deceptively simple scripts. This doesn’t necessarily register immediately — there’s an ordinariness to his plots that can feel dull, repetitive — but then that last scene hits and you’re like, “Fuck, I feel everything.”
3-4. Conflict is a tad 'late' as far as when it springs up, and it's a bit hard to tell where it lands morally. Noriko appears to have something of a Freudian situation with her father, but it is quietly tragic in the way Noriko and her father are divided by the system of progress that moves Japan toward its future while caring nothing for individual loneliness. Setsuko Hara gives a very impactful performance, too.
This is one of the best (of Ozu's) films I've ever seen (Tokyo Story still being Ozu's masterpiece).Both Setsuko Hara and Chishu Ryu's performances are flawless & complete, I felt Noriko and her father were real people I knew by the end. I connected with Noriko's struggle as a similar (yet very different) occurrence happened to me forcing me to move out. I've not seen a better illustration of tradition vs. modernity.