The head of a Japanese theatre troupe returns to a small coastal town where he left a son who thinks he is his uncle, and tries to make up for the lost time, but his current mistress grows jealous.
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It’s such an amazing film. Funny and calm and poignant and then enormously emotional. It’s also a wonderful story about acting and theatre-folk, one of the best. That final family scene is such a killer. How did Ozu do it? His films are not flashy, his camera does not move, and yet within the formal structure of his stories … huge emotion is possible.
The stunning cinematography perfectly compliments the intricate emotions that Ozu delicately captures in his own special way. We feel every breath and movement of these characters as the camera observes starkly the slow burning volcano just waiting to erupt. Ozu had a special ability to create intense emotional dramas with a serious sense of calm and understanding.
Some of cinema's best—Lubitsch, Renoir, Bergman—were drawn to the life of a theater troupe, to the idea of living both freely and hand-to-mouth while staving off responsibility and routine. Planted in his world of strict tradition, Ozu makes this idea one of his most congenial, distinct late films, at times a pure farce before a tragedy. You can get quite an effect by getting the two genres to coexist.
Ozu's films are sufficiently obscure for stuck-up cinephiles to use as leverage and reinforce their arguments about the fine quality of his work. Sorry, but they will never be as good as a Coppola or a Verhoeven lol. The 'family' argument is equally embarrassing. If you cared so much about family relations, you'd think you'd spend more time with your family instead of glorifying some dull-ass filmmaker. I'm out.
An acting troupe arrives in town but most of the drama is happening off the stage. Interesting this should pop up while I'm reading Emily St. John Mandel's 'Station Eleven', though this is the more understated of the two. Resplendent colours and gorgeous cinematography, though a little too long for its focus - a neglectful use of the supporting characters.
The film slowly reveals a complex father figure, showing how difficult it is to balance an artistic vocation with family duties; and a quality artistic vocation with an steady income. Both versions remain utterly affecting.
I don't think its possible to accurately articulate the movie! Its so embedded in the feeling of daily life and transience of everything that communicating what it really is won't be possible until your six feet under! Its a beautiful movie that I look forward to returning to.
Most times when I watch a remake, I ask myself what is the point behind it, especially when a filmmaker remakes their own film (i.e. Michael Haneke's Funny Games). But Ozu is successful in remaking his own film. He does what all the directors do wrong when remaking a film, he adds something new to the story. In this instance, it's the color addition that stands out and becomes another character. Bravo Ozu! Bravo!