I don't think I can say anything that hasn't already been said about Ozu's 1953 masterpiece. All I'll say is, I admire Ozu for his bold proclamation that everyday life, rendered tellingly & poetically, provides more than enough drama to engage us deeply.
The only other Ozu I've seen besides this is Good Morning and Early Spring (which I loved and liked, respectively), but this seemed sort of contrived and obvious by comparison; t felt like a character delivered the theme of the story in an elevator-pitch style line of dialogue once every half hour. I respect its influence and admire its acting and sense of place, but feel little enthusiasm for it taken as a whole.
The subtle emotional stirrings and beautiful "pillow shots" aren't enough to grant this creaking old cottage any hint of charm. The new generation of film enthusiasts need to emancipate itself from the posterity of Ebert and see films for what they are, rather than complimenting poorly executed intentions.
Magnificent and tender. Ozu's great strength lies in his failure to cave into expectations and define his story in the first 10 minutes, instead immersing us in the wonderful complex lives of his characters and patiently waiting for them to do something interesting.Things will happen, whether you force them or not, and Ozu has the bravery to sit back and watch his film as he creates it. 4.5/5
It's so hard to find the right words to describe this film. I think it's so striking particularly because of its subtlety. The "contemplative" atmosphere is like a first dimension, a picture to submerge in. What's behind that is an inside world of overwhelming depth and truth.