Hello everybody! I know I'm not as cool as Monsieur Flynn, but I really wanted to do the Letterboxd Season…
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…
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.
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…
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.
- ozu's sense for framing and layering is as incredible as ever
- contains probably the most beautifully filmed fart joke sequences of all time
- isamu is such a lil cutie
Fine example of taking a stylistic approach to a film and sticking with it for the entire duration of the picture. So many subtle details are seamlessly incorporated into the main theme and the story that it's so easy to overlook how well the film actually works. I can almost see people disliking the film for that reason. (Not even in a truly negative sense, but it's just easy to overlook the main approach and feel let down). Still though, this movie was consistent af.
All in all I liked this film a lot. It deals with some interesting generational subject matter all having to do with family, and community dynamics in a shifting Japanese society. There's plenty of other…
made a guy real mad at a bar once when I said this is the only Ozu movie i've seen
Very interesting glimpse into Japanese life in the 1950s, a time and place I would never have known about or experienced without this film. My first time watching an Ozu film, and It was very enjoyable. He created a pretty hilarious portrayal of a bunch of gossiping neighbors, rebellious kids, and had an interesting commentary on the monotony of "small-talk" among adults. And on top of all of that, it was filled with FART jokes.
Kids are never satisfied.
Desenvolvendo lentamente as tramas, as rotinas e os costumes é apresentado um dos filmes mais doces de Ozu em uma aceitação agradável sobre o futuro.
Simple light-hearted film about gossip, television, and flatulence.
UPDATED: September 11, 2016
The Criterion Collection is a video distribution company that sells "important classic and contemporary films" in…
My rankings of Criterion spines 1-100. I did rankings of each set of 10 as I watched. Links to them…