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2.423 Puanlama


お早よう | Ohayō

Yönetmen Yasujirô Ozu
Japonya, 1959
Komedi, Drama


Ozu’s Technicolor reworking of his silent I Was Born, But . . . , Good Morning is the story of two young boys in suburban Tokyo who take a vow of silence after their parents refuse to buy them a television set.

Bu film şu anda MUBI'de gösterimde değil ama gösterimde olan 30 harika film var. Lütfen şimdi gösterimde sayfamızı ziyaret et.
Günaydin Yönetmen Yasujirô Ozu
Watching it again a few weeks ago, I realized that on the first go I had absorbed almost none of the plot. Only on second viewing did I remember anything—and then only because I recognized the speech patterns of a certain character, a grandfather who comes with his wife to visit his children. His verbal tics brought not just the plot but the film’s patient and peculiar beauty back to me in a rush.
July 19, 2017
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In Good Morning, Ozu is always showing us the entire film simultaneously: This is a rigorously controlled, structured, and theoretical work that also resounds with the warm and spontaneous vitality of life—a seemingly paradoxical achievement that exists as a peak of cinematic artistry.
May 25, 2017
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Devoted to both the profound necessity and the sublime silliness of social interchange, Good Morning is therefore much subtler and grander than it might initially appear to be. Commonly identified as a remake of Ozu’s silent 1932 masterpiece I Was Born, But . . ., also included in this release, it is even more interesting for its differences with that film than for its similarities—above all, the difference between what a father’s authority meant in prewar versus postwar Japan.
May 15, 2017
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İnsanlar ne diyor?

  • Mister Monkeyman's rating of the film Günaydin

    One of Ozu's lightest and funniest films, it still has the visual precision, the depth of characterisation and unmistakeable artistry of his best films.

  • Zac Weber's rating of the film Günaydin

    One of my favorite Ozu films that showcases his modest humor and penchant for lovely, intricate images. Good Morning confronts the formalities of 1950s Japanese society, while remaining sympathetic to its beauty.

  • Duncan Gray's rating of the film Günaydin

    Ozu does wacky! Of course, his wackiness is still delicate, even as he allows the kids in the movie (and in the audience) to go manic. If you know Ozu for life's disappointments, you'll be surprised at how farcical he can be. He's an unlikely pioneer of fart jokes, though he also proved how easily they could be overdone. And he turns the very title into a rich two-pronged metaphor even the young-uns might understand.

  • Ghostman's rating of the film Günaydin

    A sweet family comedy made by the great Ozu. It's interesting to compare this piece's levity to his other films when one considers how sad Ozu's works can often be. The film slyly conveys an appealing anti-authoritarian streak as well as the sad, universal premise that adults never can, or maybe never try to, understand the youth. Also, Ozu proves, once & for all, that fart jokes can be funny & meaningful to a story.

  • Richmond Hill's rating of the film Günaydin

    A deft comedy of manners broken if not by generational conflict or gossiping then by flatulence! Somewhat reminiscent of Mon Oncle this has Ozu’s customary distilled essence and ‘in the frame’ compositions applied to a much lighter milieu of domestic tribulations. The encroaching western consumerism soon to be so well embraced is slyly referenced throughout as the thing that will break the manners more significantly.

  • Jason's rating of the film Günaydin

    When I was fifteen and seeing OHAYÔ (my first Ozu) for the first time, my effusive praise may have understandably meant very little to you, but twenty-seven years, a Master's degree in Film Studies, and the careful consideration of thousands and thousands of films later, I am still here to say that my favourite Ozu is probably still the one w/ all the fart jokes. Take that how you will.

  • Joao Pedro Amorim's rating of the film Günaydin

    my first ozu is the coziest film i've ever seen. in the argument between the leader of the women's group and her mother, we can see a nice personification of a clash between tv and cinema. way more than a reflection on post-modernity, this film is a complete study of human relations.

  • josé neves's rating of the film Günaydin

    re-rating: sure, Ozu's formal system keeps its perfect geometric structure (all those shots with different scales of viewing inside the frame), but this kind of popular, redundant, fiction keeps me away from the procedure, too much away from the nostalgia that i prefer. Saying this, the moment between the man and the woman in the train station, and the conversation about the weather, is top notch, Ozu's perfection.

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