Yasujirō Ozu

The Life of Yasujirō Ozu

Ozu is among the best directors ever. He was born in the Fukagawa district of Tokyo, the second child of 5 brothers and sisters. He regularly avoided school classes to see films like Quo Vadis or The Last Days of Pompeii. In 1917 he saw the film Civilization and decided he wanted to become a director. At the age of 17, he was thrown out of the dorm room after being accused of writing a love letter to a lower-class boy. 

Ozu was hired by the Shochiku Film Company, as an assistant in the film department, on August 1, 1923, against the wishes of his father. His home was destroyed in the 1923 earthquake, however no members of his family were injured. On December 12, 1924, Ozu began a year of military service. He completed his military service on November 30, 1925, starting as a corporal. In 1927 he was involved in a fight in which he punched another staff member at the studio bar. He was called to the studio director’s workplace, and Ozu took advantage of this to provide a film script he had written. In September 1927, he was promoted to director and directed his first film, Sword of Penitence, which has been lost. On September 25, he was called into military service until November, and the film had to be completed by another director.

The film Body Beautiful, launched on December 1, 1928, was Ozu’s first film to use a low camera position, which would become his hallmark. Her film Young Miss, with a stellar cast, was the first time she used the pseudonym James Maki, and it was also her first film to appear in Kinema Jumpo’s “Best Ten” film release in third position. In 1932, his I Was Born, But …, a hilarious film about youth, was hailed by film critics as the first truly worthy work of social criticism in Japanese cinema, giving Ozu a great honor. 

In 1935 Ozu made a short documentary with music called Kagami Jishi, in which Kikugoro VI performed a Kabuki dance of the same name as the title. Like the rest of the Japanese film market, Ozu was slow to switch to sound film production: his very first film with a soundtrack was The Only Son in 1936, 5 years after the very first Japanese sound film, The Heinosuke Gosho film The mine and the neighbor’s wife.

Ozu in Wartime

On September 9, 1937, at a time when Shochiku was not reaping box office success with Ozu’s films, regardless of how well he received critical acclaim, 34-year-old Ozu was drafted into the Japanese Imperial Army. He invested 2 years in China in the second Sino-Japanese war. In 1939, Ozu was sent to Hankou, where he fought in the Battle of Nanchang and the Battle of the Xiushui River.

In 1939, he composed the first draft of the script for The Taste of Green Tea, but shelved it due to changes that were firmly insisted on by military censorship. The first film Ozu made on his return was Brothers and Sisters of the Toda Family, his first real success, in 1941.

In 1943, Ozu was re-enlisted in the army to make a propaganda film in Burma. During his time in Singapore, having little sympathy with that kind of work, he wasted a whole year reading, playing tennis and watching American films provided by the Army Intelligence Corps. At the end of World War II, in August 1945, Ozu damaged the script and all the filming of the film.

Ozu had a career spanning thirty-five years, from 1927 to his death in 1963, and he rarely made a bad movie. He was always known in Japan, but had a global following after his passing thanks to fans and critics such as Paul Schrader and David Bordwell. Today, his films are often hugely prominent in critical polls around the world, with Tokyo Story in particular being typically referred to as one of the best films ever made in film history.

Ozu made, like many other pure authors, the exact same film over and over again: peaceful, understated dramas that generally felt like variations on the same style, using his distinctive austere and detached gaze. His fans might perhaps agree with the rating, but they would equally point to the boundless subtlety and humanity in Ozu’s work that makes his films moving and delightful.

Yasujirô Ozu never shied away from telling the exact same kind of story twice, especially when that story included the bitterness of passing from one generation to the next. Subtle film-to-film variations take on new tones as the viewer delves into Ozu’s filmography.

Here are 5 of the must-see films, important entry points into the director’s imagination.

I Was Born But… (1932)

Ozu’s early films, mostly comedies, were lost to the ravages of war. 1929’s Student Romance: Days Of Youth is the first to survive, while some made late have yet to be found.

One of his latest silent films, stars Hideo Sugawara and Tomio Aoki (the latter of whom had starred in Ozu’s short film A Straightforward Boy a few years earlier) as Ryoichi and Keiji Yoshi, whose family has moved in the suburbs of Tokyo for the new job of his wage father (Tatsuo Saitō).

I Was Born, But… (1932) is the seventh film of the director, and it is considered one of his masterpieces.

The film tells the story of a group of elementary school students who are facing the transition from childhood to adolescence. The boys are struggling with the physical and psychological changes they are experiencing, and they must learn to cope with the expectations of society.

The film is set in a Japan that is undergoing modernization, and it deals with themes such as growth, change, and social pressure. It is an intimate and moving film that explores universal emotions that everyone can relate to.

Major themes

The major themes of the film are growth, change, and social pressure.

• Growth is the central theme of the film. The boys are growing and changing, both physically and psychologically.
• Change is another important theme of the film. Japan is undergoing a period of rapid social change, and these changes have an impact on the lives of the boys.
• Social pressure is a theme that is present in the film, and that the boys must face. Japanese society places great expectations on young people, and the boys must learn to cope with these expectations.

Style

The film is shot in Ozu’s classic style, with static framing and high-angle shots. This style gives the film a sense of calm and tranquility, which is in contrast to the film’s deep and sometimes tragic themes.

Reception

The film was met with critical acclaim. It was praised for its delicacy, depth, and visual style.

Awards

The film was entered into competition at the 1932 Venice Film Festival, where it won the award for Best Director.

Legacy

“I Was Born, But…” is considered one of Yasujirō Ozu’s masterpieces. The film was appreciated by critics and audiences, and it has had a significant impact on Japanese and international cinema.

Woman of Tokyo (1933)

Woman of Tokyo (1933) is a Japanese drama film directed by Yasujirō Ozu. It is one of Ozu’s earliest films, and it is considered to be one of his most important works.

The film tells the story of Chiyo (Yoshiko Okada), a young woman who works as a geisha in Tokyo. Chiyo is a kind and compassionate woman, but she is also struggling to make ends meet. She is in love with a man named Shohei (Takeshi Sakamoto), but he is unable to marry her because he is already married.

Chiyo’s life is further complicated when she meets a young man named Koji (Chishū Ryū). Koji is a sensitive and intelligent man, and he falls in love with Chiyo. However, Chiyo is still in love with Shohei, and she is unable to reciprocate Koji’s feelings.

The film is a beautiful and moving portrait of a woman who is trying to find her place in the world. It is also a complex and nuanced exploration of love, loss, and sacrifice.

Themes

The film explores a number of themes, including:

• Love: Love is the central theme of the film. Chiyo is torn between her love for Shohei and her love for Koji.
• Loss: Chiyo experiences a number of losses throughout the film, including the loss of her parents, her lover, and her dreams for the future.
• Sacrifice: Chiyo is willing to sacrifice her own happiness for the sake of the people she loves.

Style

Ozu is known for his minimalist style and his use of static shots and high-angle shots. This style gives the film a sense of calm and tranquility, which contrasts with the film’s deep and sometimes tragic themes.

Reception

Woman of Tokyo was met with critical acclaim upon its release. It was praised for its delicate and nuanced portrayal of human relationships. The film has since been recognized as one of Ozu’s greatest works, and it is considered to be a classic of Japanese cinema.

There Was a Father (1942)

There Was a Father (1942) is a Japanese drama film directed by Yasujirō Ozu. It is the tenth film of the director, and it is considered one of his masterpieces.

The film tells the story of a widowed elementary school teacher who must come to terms with the accidental death of one of his students. The teacher feels responsible for the tragedy and decides to leave teaching. He moves to a small town and starts working as a clerk, but he cannot find happiness.

The film is set in a Japan at war, and it deals with themes such as loss, guilt, and the search for a new beginning. It is an intimate and moving film that explores universal emotions that everyone can relate to.

Major themes

The major themes of the film are loss, guilt, and the search for a new beginning.

• Loss is the central theme of the film. The teacher loses his student and his wife, and this leads to a deep sense of loss.
• Guilt is another important theme of the film. The teacher feels guilty for the death of the student, and this leads to a sense of guilt that torments him.
• The search for a new beginning is a theme that is present in the film, and that the teacher seeks to find. The teacher moves to a new town and starts a new life, but he cannot find happiness.

Style

The film is shot in Ozu’s classic style, with static framing and high-angle shots. This style gives the film a sense of calm and tranquility, which is in contrast to the film’s deep and sometimes tragic themes.

Reception

The film was met with critical acclaim. It was praised for its delicacy, depth, and visual style.

Awards

The film was entered into competition at the 1942 Venice Film Festival, where it won the award for Best Director.

Late Spring (1948)

Late Spring (1948) is a Japanese drama film directed by Yasujirō Ozu. It is the ninth film of the director, and it is considered one of his masterpieces.

The film tells the story of a widowed father who fears that his adult daughter will remain a “spinster” and be ridiculed. He tries to convince her to get married, but she is happy to live with her father, and both know that he would be lost without someone at home to take care of him.

The film is set in a Japan that is emerging from World War II, and it deals with themes such as grief, family, and change. It is an intimate and moving film that explores universal emotions that everyone can relate to.

Major themes

The major themes of the film are grief, family, and change.

• Grief is the central theme of the film. The father is still grieving the death of his wife, and this leads him to seek a way to fill the void in his life.
• Family is another important theme of the film. The relationship between father and daughter is at the center of the story, and the film explores the themes of love, care, and loss.
• Change is a theme that is present in the film, both at a personal and social level. The father is adjusting to life without his wife, and Japan is emerging from the war and changing.

Style

The film is shot in Ozu’s classic style, with static framing and high-angle shots. This style gives the film a sense of calm and tranquility, which is in contrast to the film’s deep and sometimes tragic themes.

Reception

The film was met with critical acclaim. It was praised for its delicacy, depth, and visual style.

Awards

The film won the award for Best Director at the 1948 Cannes Film Festival.

Early Summer (1951)

Early Summer (1951) is a Japanese drama film directed by Yasujirō Ozu. It is the ninth film of the director, and it is considered one of his masterpieces.

The film tells the story of Noriko, a young woman who lives with her extended family in Tokyo. She has a good job and enjoys her friends, but her family is worried that she is still single at the age of 28.

When her widowed childhood friend Kenkichi (Hiroshi Nihon’yanagi) returns to the neighborhood, Noriko finds her heart leading in another direction. However, her family is determined to find her a suitable husband, and they pressure her into accepting a proposal from Takako (Kuniko Igawa), a 40-year-old business associate.

Noriko is torn between her love for Kenkichi and her obligation to her family. She must ultimately decide what is most important to her and what kind of life she wants to live.

Style

Ozu is known for his minimalist style of filmmaking, and Early Summer is no exception. The film is shot with static camerawork and high-angle shots. This style gives the film a sense of calm and tranquility, which contrasts with the inner turmoil that the characters are experiencing.

Reception

Early Summer was met with critical acclaim upon its release. It was praised for its delicate and nuanced portrayal of human relationships. The film has since been recognized as one of Ozu’s greatest works, and it is considered a classic of Japanese cinema.

Conclusion

Early Summer is a beautiful and moving film that explores universal themes of love, family, and change. It is a must-see for any fan of Japanese cinema or the history of cinema.

The Flavor of Green Tea over Rice (1952)

The Flavor of Green Tea Over Rice (1952) is a Japanese drama film directed by Yasujirō Ozu. It is the twelfth film of the director, and it is part of the Noriko Trilogy, along with Late Spring (1949) and Tokyo Story (1953).

Plot

Taeko and Mokichi are a middle-aged married couple with no children. Taeko is an egoistic and spoiled woman, and she constantly criticizes her husband for his alleged laziness and humble origins.

One day, Taeko decides to leave her husband to live alone in Tokyo. Mokichi is shocked by his wife’s decision, but he lets her go.

Taeko moves into an apartment in Tokyo and starts working as a secretary. However, she feels lonely and unhappy.

One day, Taeko meets a man named Hiroshi, who is in love with her. Taeko begins to reciprocate his feelings, but she is still undecided whether to leave her husband for him.

Themes

The film explores the themes of love, marriage, betrayal, and change.

Love is the central theme of the film. Taeko is looking for true love, but she is trapped in an unhappy marriage.

Marriage is another important theme of the film. Taeko and Mokichi have been married for many years, but their marriage is in crisis.

Betrayal is a theme that emerges in the film, when Taeko begins to reciprocate Hiroshi’s feelings.

Change is a theme that is present in the film, both on a personal and social level. Taeko is in a time of change, and Japan is emerging from World War II.

Style

The film is shot in Ozu’s classic style, with static framing and high-angle shots. This style gives the film a sense of calm and tranquility, which is in contrast to the deep and sometimes tragic themes of the film.

Reception

The film was met with critical acclaim upon its release. It was praised for its delicacy, depth, and visual style.

Awards

The film won the Jury Prize at the 1952 Cannes Film Festival.

As always in Ozu, there is the stylization of the cinematic shot, as if the actors were posing for a photo. A sublime and penetrating film about a marital relationship that is silently destroyed.

Tricks and tricks put a strain on the relationship between a childless middle-aged couple in a provincial town as a total generational change takes place.

Tokyo Story (1953)

Tokyo Story (1953) is a 1953 Japanese drama film directed by Yasujirō Ozu. It is considered one of Ozu’s masterpieces and is often cited as one of the greatest films ever made.

Plot

The film tells the story of two elderly parents, Shukichi and Tomi Hirayama, who decide to make a trip to Tokyo to visit their grown children. Their children are all busy with work and family life, and they don’t have much time for their parents. The Hirayamas are disappointed by the reception they receive from their children and ultimately return home alone and bitter.

Themes

The film explores the themes of family, aging, and change.

• Family is the central theme of the film. The Hirayamas are a loving couple, but their relationship is tested by the trip to Tokyo.
• Aging is another important theme of the film. The Hirayamas are aging and realize that the world is changing around them.
• Change is a theme that is present in the film, both on a personal and social level. The Hirayamas are changing, as is Japan.

Style

Ozu is known for his minimalist style and his use of static shots and high-angle shots. This style gives the film a sense of calm and tranquility, which contrasts with the film’s deep and sometimes tragic themes.

Reception

Tokyo Story was met with critical acclaim. It was praised for its delicacy, depth, and visual style.

Awards

Tokyo Story won the Jury Prize at the 1953 Cannes Film Festival and was nominated for two Academy Awards: Best Foreign Language Film and Best Original Screenplay.

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Early Spring (1956)

Early Spring (1956) is a Japanese drama film directed by Yasujirō Ozu. It is the tenth film of the director, and it is considered one of his masterpieces.

The film tells the story of Shoji Sugiyama, a Tokyo salaryman who loses his only son in an accident. Shoji moves to a small town to start a new life, but he must face the pain of loss and the guilt of not being a better father.

The film is set in a Japan that is undergoing industrialization, and it deals with themes such as grief, guilt, and change. It is an intimate and moving film that explores universal emotions that everyone can relate to.

Major themes

The major themes of the film are grief, guilt, and change.

• Grief is the central theme of the film. Shoji is a man who is destroyed by the pain of losing his son.
• Guilt is another important theme of the film. Shoji feels guilty for not being a better father.
• Change is a theme that is present in the film, both at a personal and social level. Shoji must face the change in his life after the loss of his son, and Japan is going through a period of rapid social change.

Style

The film is shot in Ozu’s classic style, with static framing and high-angle shots. This style gives the film a sense of calm and tranquility, which is in contrast to the film’s deep and sometimes tragic themes.

Reception

The film was met with critical acclaim. It was praised for its delicacy, depth, and visual style.

Awards

The film was entered into competition at the 1956 Cannes Film Festival, where it won the award for Best Director.

Comparison with other Ozu films

“Early Spring” is a film that fits into the line of Ozu’s films about grief. Other Ozu films that deal with this theme are:

• Tokyo Story (1953)
• Tokyo Twilight (1957)
• An Autumn Afternoon (1962)

Influences

The film was influenced by two previous Ozu films: Tokyo Story (1953) and Tokyo Twilight (1957). In particular, the film revisits the theme of the grief of a father for the loss of a son.

Legacy

“Early Spring” is considered one of Yasujirō Ozu’s masterpieces. The film was appreciated by critics and audiences, and it has had a significant impact on Japanese and international cinema.

Tokyo Twilight (1957)

“Tokyo Twilight” is a 1957 Japanese drama film directed by Yasujirō Ozu. It is the director’s penultimate film, and the only one produced by Takarazuka. It was screened in competition at the 12th Berlin International Film Festival, where Ozu was nominated for the Golden Bear.

The film tells the story of two sisters, Takako and Akiko, who live with their father, an elderly and ailing man. Takako is married to an alcoholic man, while Akiko is pregnant by a man who has left town.

The story is set in Tokyo, in a period of rapid social and economic change. Takako and Akiko’s father is a traditional man who feels uncomfortable in the modern world. The sisters, on the other hand, are more open to new things, but they are also struggling with their own problems and aspirations.

The film is an intimate and moving portrait of family and human relationships. It is a film that is still relevant today, because it deals with universal themes such as growth, change, and loss.

Style

The film is shot in Ozu’s classic style, with static framing and high-angle shots. This style gives the film a sense of calm and tranquility, which is in contrast to the film’s deep and sometimes tragic themes.

Reception

The film was met with critical acclaim. It was praised for its delicacy, depth, and visual style.

Awards

The film was screened in competition at the 1957 Cannes Film Festival, where it won the FIPRESCI Prize. It was also nominated for the Golden Bear at the Berlin International Film Festival.

Analysis

“Tokyo Twilight” is a film that explores the themes of family, death, and change. The film is set in Tokyo, in a period of rapid social and economic change. Takako and Akiko’s father is a traditional man who feels uncomfortable in the modern world. The sisters, on the other hand, are more open to new things, but they are also struggling with their own problems and aspirations.

The film is an intimate and moving portrait of family and human relationships. It is a film that is still relevant today, because it deals with universal themes such as growth, change, and loss.

The film was shot in Ozu’s classic style, with static framing and high-angle shots. This style gives the film a sense of calm and tranquility, which is in contrast to the film’s deep and sometimes tragic themes.

Equinox Flower (1958)

Equinox Flower (1958) is a Japanese drama film directed by Yasujirō Ozu. It is the director’s first color film and is considered one of his masterpieces.

The film tells the story of a middle-class Japanese family in a time of change and transition. The patriarch, Wataru Hirayama, is an elderly and ailing man who is coming to terms with his own mortality. His wife, Fumiko Hirayama, is a strong and independent woman who is trying to keep the family together. Their children, Setsuko and Hisako, are both struggling with their own problems and aspirations.

The film is set in a small town in Japan, at a time when the country is undergoing rapid modernization. Wataru Hirayama is a traditional man who feels out of place in the modern world. Fumiko Hirayama, on the other hand, is more open to new things, but she is also aware of the risks that modernization poses to the family. The Hirayama children, on the other hand, are represented as figures of transition, who are trying to find a balance between the past and the future.

Equinox Flower is an intimate and moving film that explores the complexities of family and human relationships. It is a film that is still relevant today, because it deals with universal themes such as growth, change, and loss.

Style

The film is shot in Ozu’s classic style, with static framing and high-angle shots. This style gives the film a sense of calm and tranquility, which is in contrast to the film’s deep and sometimes tragic themes.

Reception

The film was met with critical acclaim. It was praised for its delicacy, depth, and visual style.

Awards

The film was screened in competition at the 1958 Venice Film Festival, where it won the FIPRESCI Prize. It was also nominated for the Golden Bear at the Berlin International Film Festival.

Floating Weeds (1959)

Floating Weeds (1959) is a Japanese drama film directed by Yasujirō Ozu. It is a remake of Ozu’s 1934 silent film of the same name.

The film tells the story of Komajuro Arashi, a kabuki actor. One summer, his company arrives in a fishing village where he meets Oyoshi, his former lover and the mother of his son, Kiyoshi, who believes Komajuro to be his uncle.

The film is set in a traditional Japan, where kabuki is still a popular art form. Komajuro is a successful actor, but he is also a restless man who is trying to find a balance between his professional and personal life. Oyoshi is a simple and kind woman who has always loved Komajuro, even though she has never been able to live with him. Kiyoshi is a shy and introverted boy who is trying to find his place in the world.

Floating Weeds is an intimate and moving film that explores the themes of love, loss, and the search for balance between tradition and modernity. It is a film that is still relevant today, because it speaks to universal emotions that everyone can relate to.

Major themes

The major themes of the film are love, loss, and the search for balance between tradition and modernity.

• Love is the central theme of the film. Komajuro and Oyoshi are bound by a deep love, but their love is thwarted by social conventions. Kiyoshi is searching for love, but he struggles to find someone who will accept him for who he is.
• Loss is another important theme of the film. Komajuro has lost his first wife and son, and Oyoshi has lost her chance to live with the man she loves. Kiyoshi has lost his childhood and adolescence, and he is searching for a new beginning.
• The search for balance between tradition and modernity is the third major theme of the film. Komajuro is a traditional man who finds himself living in a world that is changing rapidly. Oyoshi is a woman who has always lived according to tradition, but she is also willing to accept change. Kiyoshi is a boy who is searching for his place in the modern world.

Style

The film is shot in Ozu’s classic style, with static framing and high-angle shots. This style gives the film a sense of calm and tranquility, which is in contrast to the film’s deep and sometimes tragic themes.

Reception

The film was met with critical acclaim. It was praised for its delicacy, depth, and visual style.

Awards

The film was presented in competition at the 1959 Venice Film Festival, where it won the Pasinetti Award.

Comparison with the 1934 film

The 1959 film is a remake of the 1934 film by the same director. The two films are very similar, but there are also some differences.

The most obvious difference is that the 1959 film is in color, while the 1934 film is in black and white. The difference in color gives the 1959 film a sense of vibrancy and hope that is not present in the 1934 film.

Another difference is that the 1959 film is more focused on the female characters. The character of Oyoshi is more developed and complex in the 1959 film.

In conclusion, the 1959 film is a faithful remake of the 1934 film, but it is also a film that has its own distinctive identity.

Good Morning (1959)

“Good Morning” (1959) is a Japanese comedy film directed by Yasujirō Ozu. It tells the story of two young boys, Minoru and Isamu, who decide to go on a silence strike to protest their parents’ refusal to buy them a television set.

The film is set in a suburban neighborhood of Tokyo in the late 1950s. Minoru and Isamu are typical Japanese boys of their time. They are obsessed with baseball, comic books, and movies. They also love to watch television, but their parents are reluctant to buy them a set because they believe it will be a distraction from their schoolwork.

One day, Minoru and Isamu decide that they have had enough. They vow to remain silent until their parents buy them a television set. At first, their parents think that the boys are just joking around. But as the days go by, the boys remain silent, even at school and around their friends.

The boys’ silence starts to cause problems for their parents and the other people in their lives. Their teacher is worried about them, and their parents are starting to feel guilty about their decision not to buy them a television set.

Finally, after a week of silence, the boys’ parents give in. They agree to buy the boys a television set. The boys are overjoyed, and they immediately break their silence.

“Good Morning” is a charming and heartwarming film about the importance of family and communication. It is also a gentle satire of Japanese society in the late 1950s.

The film was a critical and commercial success upon its release. It was praised for its humor, warmth, and insights into Japanese culture. It has since become one of Ozu’s most beloved films.

The End of Summer (1961)

“The End of Summer” is a 1961 Japanese drama film directed by Yasujirō Ozu. It is the director’s penultimate film, and the only one produced by Takarazuka. It was screened in competition at the 12th Berlin International Film Festival, where Ozu was nominated for the Golden Bear.

The film tells the story of a middle-class Japanese family in a time of change and transition. The patriarch, Mr. Kohayagawa, is an aging and ailing man who is coming to terms with his own mortality. His wife, Mrs. Kohayagawa, is a strong and independent woman who is trying to keep the family together. Their children, Mr. Kohayagawa Jr., a middle-aged single woman, and Miss Kohayagawa, a young woman who is about to be married, are all struggling with their own problems and aspirations.

The film is set in a small town in Kansai, at a time when Japan is undergoing rapid modernization. Mr. Kohayagawa is a traditional man who feels out of place in the modern world. Mrs. Kohayagawa is more open to new things, but she is also aware of the risks that modernization poses to the family. The Kohayagawa children, on the other hand, are represented as figures of transition, who are trying to find a balance between the past and the future.

“The End of Summer” is an intimate and moving film that explores the complexities of family and human relationships. It is a film that is still relevant today, because it deals with universal themes such as growth, change, and loss.

Major themes

The major themes of the film are family, death, and change.

Family is the central focus of the film The End of Summer is a traditional Japanese family, but it is also a family that is changing. Mr. Kohayagawa is an aging and ailing man, and his death is an inevitable event. Mrs. Kohayagawa is a strong and independent woman, but she must also face the challenge of keeping the family together after her husband’s death. The Kohayagawa children are all struggling with their own problems and aspirations, but they are also bound together by a deep love for their family.

Death is another important theme of the film The End of Summer is a man who is facing his own mortality. It is a theme that Ozu explored in many of his films, and in this case it is handled with a tone of delicacy and compassion.

Change is the third major theme of the film. Japan is undergoing rapid modernization, and this modernization is having an impact on The End of Summer. Mr. Kohayagawa is a traditional man who feels uncomfortable in the modern world. Mrs. Kohayagawa is more open to new things, but she is also aware of the risks that modernization poses to the family. The Kohayagawa children, on the other hand, are represented as figures of transition, who are trying to find a balance between the past and the future.

Style

The film is shot in Ozu’s classic style, with static framing and high-angle shots. This style gives the film a sense of calm and tranquility, which is in contrast to the film’s deep and sometimes tragic themes.

Reception

The film was met with critical acclaim. It was praised for its delicacy, depth, and visual style.

Awards

The film was screened in competition at the 12th Berlin International Film Festival, where Ozu was nominated for the Golden Bear.

An Autumn Afternoon (1962)

An Autumn Afternoon (1962) is a Japanese drama film directed by Yasujirō Ozu. It is the penultimate film of the director, and it is considered one of his masterpieces.

The film tells the story of a widowed man named Hirayama, who lives with his daughter Michiko. Hirayama is a traditional man who feels the weight of age and loneliness. Michiko is a young woman who is struggling with the choice of getting married or remaining single.

The film is set in a small town in Japan, during a time of rapid social change. Hirayama is a man who feels uncomfortable in the modern world, and Michiko is a woman who must find her place in this world.

An Autumn Afternoon is an intimate and moving film that explores the themes of growth, change, and loss. It is a film that is still relevant today, because it speaks to universal emotions that everyone can relate to.

Major themes

The major themes of the film are growth, change, and loss.

• Growth is the central theme of the film. Hirayama is a man who must learn to let go of the past and accept change. Michiko is a woman who must find her way in life.
• Change is another important theme of the film. Japan is going through a time of rapid social change, and these changes have an impact on the lives of Hirayama and Michiko.
• Loss is a theme that is present throughout the film. Hirayama has lost his wife, and Michiko must face the loss of her youth.

Style

The film is shot in Ozu’s classic style, with static framing and high-angle shots. This style gives the film a sense of calm and tranquility, which is in contrast to the film’s deep and sometimes tragic themes.

Reception

The film was met with critical acclaim. It was praised for its delicacy, depth, and visual style.

Awards

The film was presented in competition at the 1962 Venice Film Festival, where it won the Pasinetti Award.

Comparison with other Ozu films

“An Autumn Afternoon” is a film that fits into the line of Ozu’s films about family. Other Ozu films that deal with this theme are:

• Late Spring (1949)
• Tokyo Story (1953)
• Late Autumn (1955)

Influences

The film was influenced by two previous Ozu films: Floating Weeds (1959) and Tokyo Story (1953). In particular, the film revisits the theme of the relationship between a father and a daughter who are facing change.

Legacy

“An Autumn Afternoon” is considered one of Yasujirō Ozu’s masterpieces. The film was appreciated by critics and audiences, and it has had a significant impact on Japanese and international cinema.