my favs atm...
The great actress and Ozu regular Setsuko Hara plays a mother gently trying to persuade her daughter to marry in this glowing portrait of family love and conflict—a reworking of Ozu’s 1949 masterpiece Late Spring.
In this world, people love to complicate the simplest matters. Things may appear complicated, but who knows, the essence of life may be unexpectedly simple. That's what I aimed to express. - Yasujirō Ozu
Is there anything better than Ozu in color? It does more justice to the seasons specified by the title, at least those in English. And watching a film called Late Autumn only feels appropriate for this time of the year in N. America.
The mood of the film however isn't entirely austere, though the film slowly but surely veers in that direction. It revisits the premise of Late Spring, one of Ozu's best known films. But instead of a father being concerned about a marriage-age daughter,…
Coming to Ozu now feels like coming to an old friend. And seeing his actors and actresses, like seeing old friends. When I saw Chishu Ryu, I couldn't help it -- tears came. The final expression on Setsuko Hara's face is sublime. Quiet and tentative, it is such a fitting, triumphant look. It sends me all the way back to Chishu Ryu peeling his apple in Late Spring. I felt suddenly cast back. I remember how deeply I wept at that moment. How it has stuck with me for so long. The subtlest, quietest movement signalling the deepest, profoundest emotions. I think that is when I truly fell in love with Ozu. And so I unfold…
Lighthearted film with a brush of melancholia near the end. Simplistic in nature but filled with genuine emotions to the brim. How many hearts have the last scene touched? It doesn't matter, just make sure you'll include me into that list. If I were to rate films with greetings, then Akibiyori is a firm and respectful handshake with Ozu. I have a feeling that if I travel further down his filmography, a warm bear hug would be inevitable.
I'm feeling lazy, so here's my two word review:
The laughter of the old men as they discuss how much fun they had arranging (ineptly) a marriage rings coldly as they sit, all camaraderie, without any awareness of the hurt they've caused. As a portrait of the cracks in traditional structures, this film is a fitting mirror image to Late Spring. The film captures the masculine presumptiveness that drives the men to get involved in relationships they don't need to be involved with, and the feminine frustrations of a life without a man in a patriarchal society. While I think Ozu's compassion is evident, I believe his focus is broader than merely the divide between men and women; he is exploring tradition (as always) and its complex affect on…
So beautiful in so many ways; very much a reworking of Ozu's Late Spring, except here the clash between tradition, family and connection seems even harder to reconcile in the world these characters inhabit. Marriage is no longer about love to these people - it is now a compromise, thrust upon them as family slowly drifts apart. The men continue to arrange and discuss, yet remain utterly oblivious to the pain this rigid belief in tradition has caused. Even when someone finds love, it is tainted by a looming sense of familial separation. There's no ultimate answers in Ozu's films, simply an acceptance that time and change are inevitable.
The performances here are wonderful, and by this point seeing all…
Watching this so quickly after The Face of Another is like opening the window and being greeted by a cool, spring morning. Or something like that. While his earlier color efforts are wonderful on their own, I think this is Ozu's first masterpiece after Tokyo Twilight. That film, rightfully considered his most downbeat, seems like an appropriately bleak sendoff to his black-and-white career. This one then, is his warmest embrace of color. One can see why he held out for so long: the mixtures of beige and green could easily become a smudged tone of vomit with earlier color technology, but it is so damn perfect here. Really, it is difficult for me to right about any Ozu film without…
With one to go in the Late Ozu boxset, Equinox Flower (1958) remains the sole masterpiece, but Late Autumn is a more modest gem.
Now five Ozus in, nothing here disturbed my impression that his films are all essentially the same. One can’t help but chuckle when the now-familiar opening credits roll to syrupy classical music. Here Ozu even borrows some of the shooting locations from Equinox Flower. Shin Saburi’s character has the same job and the same office. Why not? It’s actually brilliant.
I say more modest though because Late Autumn feels less meticulous and grandiose, which isn’t necessarily bad. The colors are less striking, perhaps partly because of a switch from Agfacolor to Eastmancolor. The architectural shots between…
i'll always remember eating sweet beans with you here
There's something so apparently reserved about Ozu's rigorous visual style and persistent interest in traditionalist Japanese families that it took me a while to recognize how whacky his tonal experiments in this movie become. Crosscutting between two intersecting storylines, Ozu contrasts the farcical love schemes of three middle-aged men with the oppressive melodrama between Akiko and her daughter Ayako. There was a moment where Akiko walks into a room and sees the shoulder of someone sitting beyond the door, and I was actually tense about the possibility that it might belong to another man who was going to pressure her to marry off Ayako. Ozu reveals the shoulder to belong to a woman in a grey dress, much to our…
Though the choice to rework Late Spring (currently my favorite of Ozu's films) initially troubled me, the unease wasn't warranted; while Late Autumn never reaches the heights of its original work, it still functions as a solid reiteration of its central themes re-contextualized within a mother/daughter dynamic. The typical hallmarks of his work are there (low shots, static camera, every-day conversations, generational conflict), but the decision to shoot the film in color results in several striking images. Furthermore, the reworking of Late Spring also works as a continuation of one of his major themes; Setsuko Hara plays a mother here, having played the daughter in the previous film, the implication being that this kind of situation is generational and continuous.
Late Spring is one of my favorite films...this reworking is solid (it is an Ozu film) but I'm not sure it's as rewarding as just rewatching the original would've been. Swapping the gender of the parent figure really just makes the matchmakers feel a little sleezy.
Another Ozu-movie that had a spellbinding effect on me.
A really good drama from Yasujiro Ozu. While it can't even begin to compare to the movie it's based (the legendarily great Late Spring), it's still a good movie with a great Setsuko Hara performance and worth a watch.
For the sake of neatness this should perhaps have been Ozu and Hara’s final collaboration, as it is they had one more (The End of Summer) to come. It feels like things have come full circle. In the earlier Late Spring it’s Hara who is reluctant to marry for fear of leaving her widowed father alone. Here she plays the widow and it’s her daughter who, for the same reason, resists a suitable match. Such elliptical or connected scenarios are typical of Ozu. In this case the pronounced gender politics of the time mean we see things play out slightly differently, even if the end result is the same.
The first 1012 films are from The 1,000 Greatest Films list, and maintain the original order. The films that follow…
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