Yet another year with yet another update.
2012 version can be found here.
2013 version can be found here.
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,…
The more Ozu films I watch the more I realize how different they actually are from one another in terms of content. Sure they contain a few recurring themes and motifs, but each film offers a unique set of relationships and values.
The main story recalls Late Spring, but here it is the mother who tries to get her daughter married, as opposed to the father. And there are many more prominent characters here, namely the three middle-aged friends of the deceased husband/father and the daughter's workplace friend who importance grows during the duration of the film.
What a remarkable cast! Setsuko Hara is sublime as always; no one could suggest a hidden sorrow better than her without being expressive.…
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…
nosiness, heartbreak and fortitude
"A man who marries someone so beautiful is destined to die young"
This is without a doubt the most thoroughly compelling of any of Yasujirô Ozu's late career films. From start to finish Late Autumn offers fresh wit and a central emotional draw that makes it easily accessible and constantly enjoyable with a pace that doesn't let up and a story that is seemingly always progressing.
Late Autumn is, in narrative, the exact same film as Late Spring. A daughter is reaching an age where her family and close friends are beginning to pressure her into marriage but she doesn't want to leave home, nor does she feel ready to get married. This is extremely common of Ozu's popular, later…
I could have watched that for another couple of hours.
Cada vez que veo una película de Ozu me siento parte de la familia que retrata. Es impresionante la forma en que dirige, el modo en que consigue no solamente mostrar las tradiciones familiares, sino hacer al espectador parte de las discusiones de los personajes, de su cotidianeidad. Y para esto, sus cuadros. Qué manera tan bonita de encuadrar tienen Ozu y Yûharu Atsuta, su fotógrafo. Cada plano mostrando el día a día, el arreglo de las casas tradicionales y las modernas, los paisajes naturales, el corredor fuera de casa de la familia Miwa, parecen vivos. Mientras veía la película me imaginaba cómo sería copiar cualquiera de estos planos en una pintura. Cualquier pasillo vacío de Late Atumn habla de…
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…
This is a gentle drama with dark undercurrents. Three middle aged businessmen try to find a suitable husband for the daughter of their late friend's widow. Unfortunately she does not want to get married. A look at the generation gap in 1960s Japan, the film also deals with the increasing Westernization of Japan.
1960's Late Autumn (秋日和 Akibiyori ) is Ozu's antepenultimate film, following his classic Floating Weeds (Ukigusa). Same themes, same cast, same stationary camera, low angles, direct shooting during dialogue scenes, and on and on and on. Yes, this is one of his few color films, and the always amazing Setsuko Hara is playing the widowed mother of the daughter being puppeted on the stage of forced marriage rather than her customary role as the happy bride/victim, and omnipresent Chishu Ryu barely appears as the deceased's brother, and the three marriage arranging puppeteers (friends of the dead father) supply a bit more humor than we are used to...but...it's just the same old stories we've seen Ozu tell throughout his career. And then somewhere along the way, you become lost, absorbed, and as always, you'll have wet eyes and a bittersweet smile. No other director gets so much emotion out of so little drama.
I can't deny the beauty of the colors and the framing, and yet I find every Ozu an arduous experience were the plot feels convulsively slow in making its point. Like the last scene: the emptiness of the frame, that want to show us so much about transience, yet it doesn't transcend for me. Though the more youth, the more references to rock 'n roll, the more dynamic it gets: the daughter's girlfriend telling everyone what's what was the character I liked the most. I mean, that pink woolen blouse, how '60s was she!
Some of the set design and lighting choices have an odd Brechtian quality which mixes very strangely with Late period Ozu.
Another year, another update. 2012 List can be found here.
The following is a really extensive and great list of…