The first 1012 films are from The 1,000 Greatest Films list, and maintain the original order. The films that follow…
Two boys beg their parents for a television set, nagging them until all patience is lost. The parents order the boys to be quiet and the boys do exactly that--refusing to utter a word. The boys' silence ultimately puts the whole neighborhood into turmoil.
Yajusirô Ozu's perception of life is quite simple, but uniquely beautiful - after making many films about ageing, marriage, loneliness and many other adult stuff, it was time to tackle the innocence of childhood and to capture the essence of being a child. Good Morning is a film for its time and place, a period in Japan's history (during the country's brutal economic growth, the so-called “Japanese Miracle”) when having a TV wasn't something you could call mainstream, when every single kid wanted to watch sumo wrestling and baseball; it's a tender social commentary that depicts a specific time and that certainly does not have the same impact today, but Ozu's unique approach to the story is so beautiful and…
Like many of Ozu's late films, Good Morning is in color, but it somehow looks different from the others I've seen. Maybe it's because the film is set in a seemingly newly developed community outside of Tokyo. Everything looks new and fresh. I wish I could say the same about the storyline. Good Morning basically reworks the concept of his early silent I was Born, But... There are differences due to the age gap between the films but the treatment of kids and adults seems familiar.
This film is more interesting as a barometer of influence American consumerist culture has had on the Japanese. The kids in the film are obsessed with having a television set. They take a vow…
Sixty in September: 41/60
Good Morning is a coming together of many Ozu themes and character types. After the dark turns of Early Spring and Tokyo Twilight, there was a literal brightening and flowering of color in Equinox Flower. That film ended with a sense of hope for change. It seems fitting, then, that Good Morning should include (from what I've seen so far) one of Ozu's most diverse casts. It contains children of many ages, grandparents, multiple families, salarymen, jobless men, salesmen, wives, sisters, and "modern women." In a sense, character types -- and the concerns of their respective stories -- from throughout Ozu appear here.
The film is a loose remake, or perhaps callback, to his silent I…
Good Morning is usually promoted as the remake of Ozu's Was Born, But.... But that could said be said about a number of Ozu films. After all, they tend to contain many of the same themes and images. That said, that film certainly didn't contain fart jokes, which this one does. It work to a point. This is a lighter film, not as deep as Ozu best but it's good to see Ozu having some fun.
Ozu becomes better the farther you get from internalizing intro film studies clichés. If you're 19 years old and sitting in a classroom preoccupied by pillow shots, by whether his work is "more Japanese" than Kurosawa's, it's hard to actually watch and enjoy the movies. You might miss, say, the pleasures of the Agfacolor reds and greens dotting the middle-class households in Good Morning. Or the visual joke of two brothers clad in the same sweater, prefiguring the lighthouse-and-sake-bottle shot that would open Floating Weeds later the same year. Or the funny tragedy and sad comedy found through these intertwined parent and child vignettes. (As I noted a couple years ago about Ozu's previous film Equinox Flower, the storytelling may…
Bratty children fart for fun and neighborhood gals gossip. This film was an amusing departure from Ozu's usual serious fare.
"Então por que os adultos falam coisas desnecessárias? 'Boa tarde', 'Bom dia', 'Boa noite', 'O tempo está bom, né', 'Ah, é mesmo'. Para quê? Só por hábito. Não é verdade? Só conversa fiada. 'Sei, sei'. Tudo falso! As coisas importantes são difíceis de se dizer, enquanto que as coisas
insignificantes são fáceis."
Ozu's Good Morning is another characteristically intimate look into the rift between the younger and older generation, with some very good play on miscommunication and the power of language thrown in for good measure. Ozu's style is still in effect here but he allows for more wide shots than normal. The contemplation on technology and innovation as death is also deeply felt and articulated.
"You're not watching TV again, are you?"
A cautionary tale reminding its audience that they should never consider having children. Good Morning marks a departure from Yasujirō Ozu's usual gloom and melancholy, telling the light-hearted story of two brats who nag their parents relentlessly for a television.
This is a very archetypal Yasujirō Ozu, it is as though his style has reached its logical extreme. Ozu, known for putting nuanced characterisation, visual composition and poetic yet simplistic writing before narrative, opts to just not tell a dramatic story with Good Morning. There is the overarching narrative of the Hayashi boys wanting a television, occasional gossip stirring amongst the women of the small community and the Hayashi family's neighbour's drinking habit…
come for the fart jokes, stay for the pointed satire on the ills of modernization and society's ineffective mode of communication.
Utter fucking rubbish. Sorry.
This review may contain spoilers. I can handle the truth.
The scene where the English teacher finds Tamiko & Minoru after they run away from home to secretly eat food reminds me of the scene in Mary Poppins when Jane & Michael do the exact same thing to fly kites and the police officer returns them to their home. I wonder if that was just a coincidence or an actually reference to this movie.
A funny bit of Ozu involving gossip and parent-kid dynamics and consumerism. Also, fart jokes.
The geography and production here is really exceptionally well-done. All these houses look the same, yet you're never really unsure where you are.
Rather than a favorites list, these are the films I believe are essential to a sustainable dialogue about film, and…
UPDATED: June 23, 2016
The Criterion Collection is a video distribution company that sells "important classic and contemporary films" in…