A Hen in the Wind

dionysus67

Ozu's film style has already reached perfection and here, as in earlier films by him, the narrative unfolds via relatively static shots that create unexpected fluidity in rhythm. The pillow shots as the film progresses become more impressive as the disillusioned husband wonders in the industrial site. As expected, shifts from interiors to exteriors are imperceptible leaving the floor to Tanaka's glorious performance.

Francisco R.

An unconventional, significant and decidedly shocking work in the director's oeuvre, it may be his most demeaning portrait of the woman in post-war Japan as it debases the moral integrity of its female lead almost to that of an animal worth beating, for the sake of a maudlin, trite denouement and, in context, a searing indictment on Japanese family values after the war. Recommended for sure, but I don't approve it.

Renton47

Bleak. Trades in some ugly truths. Can a moment make a film? It really hits the mark once the husband returns, hijacking the story to make a case about the horrible expectations of men, culminating in one of the most shocking moments I have seen in a drama. It offers a view of abuse that peddles far more in the murky greys of the world we inhabit.

Daniel S.

Prostitution, Poverty, Sickness. After WWII, Japanese people were also suffering. The sole optimistic character is played by Chishu Ryu. This was also the first time that I watched domestic violence described so vividly in a Yasujiro Ozu film. Recommended.

Adam Suraf

Ozu looks at post-war Japan and doesn't see much he likes; from the drab industrial wasteland in the background to the precarious social position of it's returning veterans and struggling unemployed, simmering shame and violence beneath his usually subdued familial protagonists.

Adam GR

I was like, aw Ozu is such a quiet optimist and then the husband flung his wife down the stairs. The drama! The human drama! Through the director's nuanced and knowing lens, Kinuyo Tanaka and Shūji Sano play earnestly as a married couple in strife. All for the sake of sweet little Hiro. The child in us all. What was Chishū eating in that one scene? I need to know.

Jdsarmientoburgos

Ozu was significantly more pessimistic during the 40s compared to the other eras. This one explores the harsh reality of having to live with the choices people had to make during WWII in order to survive.

AKFilmFan

A post-war Ozu drama similar to the films of Mizoguchi & Naruse. Ozu wisely concentrates not on the rape, prostitution, and war scenes but the effects. The main overarching theme is very clear: The decay of Japan due WWII. And though the spousal abuse (shown in full detail and predicted by the falling metal can) is a little unconventional for Ozu, Tokiko's perseverance is touching until the very last frame.