Ozu is a director that is passively enjoyable, but can reveal hidden depths if you choose to view it that way. Not political meanings or allegories or anything, but emotional depths. Sometimes, however, it is just nice to let something wash over you, and Ozu's films are always good for that.
The humour of Ozu while adressing life and death is what stuck to me in this film apart from the always amazing shots of empty halls inside the houses. Who's he shooting?? The always pressing need to get married or to be alone is in this film shuffled with the perspective of finding an old flame, who is impossible to know how sincere she is just as this new Japan compared to the old.
I love that 100 yen scene! It’s funny and contemplative all at once. Akiko (Hara) in kimono and Noriko (Tsukasa) in modern dress talking about their life, both are beautiful. I also like the way Fumiko (played by that alluring Aratama) teases her childlike father with such anger that actually comes from affection.
Ozu’s films are like rice. Some are fried rice. Some are udon with white or brown rice on the side. And some are sushi with saki; like Equinox Flower. The End of Summer is just plain white rice. Simple, like all of Ozu’s films, but also very bland. I love Japanese culture, but I don't care for Ozu's films. They really aren't very Japanese, no matter what the cult says.
Could have been his best, but somehow it doesn't feel fully-formed to me. I would have enjoyed an extra 20 minutes or so. I think there was more emotional content to mine out of this story that, unlike other films, he didn't fully draw out. I am a bit torn though, as some of the implied content and the simplicity is enjoyable for its briefness. The ending is amplified greatly by Ozu's death the following year.