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.
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.…
You know, I just love how Ozu centers his films around every day life. Whether it's visiting friends, going out for lunch, discussing marital issues, trying to get someone married. This movie really engaged me.
I've only seen a handful of Ozu's films, but it seems the humor has only gotten stronger here than in his earlier films. The humor is almost crucial to the plot. How we have these three men trying to get Hara's daughter married, yet they also try to get Hara herself married. During this, it comes out that they all seem to fancy Hara.
The actors are all brilliant. Once again, we get a strong performance from Setsuko Hara (who has one of the most…
Fascinating reworking of Ozu's classic Late Spring. Setsuko Hara, the daughter in that earlier film who marries somewhat reluctantly due to not wanting to leave the home she shares with her widowed father, now plays the widowed mother whose daughter Ayako shares a similar hesitation to marry and move away. Ozu's artistry had only grown more angular, elegant and refined in the eleven years that separated the two films. Late Spring is the greater film, due to the grittier postwar American occupation context and less reliance on genteel, overt comedy. But Late Autumn is a mature masterwork every bit as exquisite in its own way. Chishu Ryu, Late Spring's compassionate father, appears in a small support role as Setsuko's brother-in-law. Mariko Okada is especially charming as Yuriko, Ayako's friend and confidante.
Ozu is definitely one of my favorite directors. Tokyo Story and Late Spring are surely among some of the greatest films ever made. This film is exactly what you expect from post-war Ozu; a lovely story about the post-war Japanese (upper middle-class) family and marriage. However that is part of the problem. Ozu's post-war films are so similar that once you've seen a couple of them you start to see how much they resemble each other (even the titles are alike and the actors are the same!). There is nothing wrong with this film in particular; we get to see Ozu's beautiful camerawork, sets and costumes, and the acting is once again good. The great Setsuko Hara and Chishu Ryu are here again, although their roles are a lot less prominent (especially the latter). It's just disappointing that the plot is pretty much the same as films such as Autumn Afternoon and Late Spring.
We watched Ozu's Autumn on television. I don't remember precisely what autumn. Dreadfully boring; rather like a Mendeleyev table.
Yet another movie from Ozu about a single parent trying to marry off their daughter. This time it's a mother instead of a father, but I have to say that this makes me wonder how many times Ozu made the same basic movie with only slightly different points to it and why critics put all of them on "must see" lists. I've seen at least three from him with this plot; just pick one of them and call it good.
Part of my:
Yasujirō Ozu Ranked
She was like a beautiful flower in the rain
The leaves are orange and brown and there's a cool breeze rustling the branches of all the trees. It's autumn and I think it may well be time for another Ozu. His films have to be treated with delicacy, to rush through a series of them would be to watch but not absorb and I couldn't possibly imagine not savouring every single moment of such beauty.
The plot follows three men as they try to help arrange a marriage for the daughter of a widow. I may be wrong but I think this is the only Ozu film with his full ensemble. The…
I'd never seen an Ozu film before (yeah, yeah) - this is great, a sweet and sad story about generational conflict and three middle-aged men scheming to arrange marriages for the widow and daughter of their late friend. Surely the most impeccably shot romcom ever; every frame looks amazing.
tspdt 947 2014
actor: Setsuku Hara as Akiko Miwa
character: Yukiko Sasaki played by Mariko Okada; was Akiko's best friend
So much of watching these Ozu movies seems to be breaking through the performance norms of mid-century Japan; not even as actors but as people - the expressions often don't match what they're saying, etc. Setsuko Hara, however, is another story - there's moment where she's confronted by her daughter's friend feels like a fissure in an entire universe; the final scene with her daughter (and the film's final scene) are as devastating and lovely as anything in Ozu. I'll rate this a little lower just because it's too long, a little too meandering with the comedy, and my memory of Late Spring is stronger.
"Sentimental girls are too much".
Man, talk about repression when you can't even ask directly to the woman you want to marry. Feels like one of the those Jane Austen stories in England from the early 1800's, but set in (then) contemporary 1950's Japan. Unlike some of the Austen movie adaptations, I found little of the charm found in those movies; perhaps it's a little lost in translation. I like to think I know a little about general Japanese society, but this movie helps to show how big my knowledge gaps are. The movie just goes on to long, and none of the characters made a huge impression on me, so it just became sort of boring for me.
The rare film in which I'd much prefer to see the hypothetical modern American remake. It'd probably be a romcom as well! All of the elements that make Tokyo Story and Late Spring leap off the screen makes Late Autumn crouch and hide: the pacing is stultifyingly slow rather than gentle and wistful; the acting is flat rather than simply reserved (with the exception of the wonderful Setsuko Hara, of couse); and the character motivations are frankly obtuse rather than simply anachronistic. Rehashing most of the themes of Late Spring does it no favours either. Still, it is Ozu, so it is immaculately crafted if nothing else, even in colour. And when the emotional moments/gutpunches do arrive, they have the desired effect. I just wished they flowed more naturally and more often.
Yasujiro Ozu continues to impress.
I discovered Ozu's work when I went to a screening of 'Late Spring'. I instantly fell in love with his work and his use of cinematography. A director as simplistic as he was captured the essence of pure emotion from all of his actors. That to me stood out and will forever keep me intertwined with his films.
Ozu's 'Late Autumn' to me is a perspective from the mother's point of view. If you have seen 'Late Spring', you will know what I am talking about. Something that we all get out of his films, is his choice of mood. The under tone of his films are so calm and relaxing. 'Late Autumn' takes you…
Alternative title: Horny Old Men, Strong Pretty Women. Is there an Ozu film with more veiled sex jokes than Late Autumn? I think not. This twist on Late Spring is a delightful dramedy of errors that plays out like a Frasier episode with more emotional heft (though it's a tad long). Also, I have a crush on Mariko Okada.
Another year, another update. 2012 List can be found here.
The following is a really extensive and great list of…
Kinema Junpo is Japan's oldest and premiere cinema magazine. Once a decade they poll Japanese critics to name the best…