High-rated movies with very few views. Suggestions are welcome.
The End of Summer
The Kohayakawa family is thrown into distress when childlike father Manbei takes up with his old mistress, in one of Ozu’s most deftly modulated blendings of comedy and tragedy.
The End of Summer is about Manbei Kohayagawa (Ganjiro Nakamura), the head of a small sake brewery company in Kyoto. The elder of his two daughters, Fumiko (Michiyo Aratama), lives with him. Her husband, Hisao (Keiju Kobayashi) helps at the brewery. His youngest daughter, Noriko (Yoko Tsukasa), and his widowed daughter-in-law, Akiko (Setsuko Hara), live in Osaka. The biggest plot point in End of Summer involves them getting married.
Similar to Ozu's Good Morning, this film is quite funny, and not always subtly so. Both films contain their share of low-brow humor. In The End of Summer, it mostly involve Manbei who, despite his age, is hardly a sensitive and gentle soul. In fact, he's very much like his grandchildren…
One of the three postwar films Yasujirô Ozu made at a studio other than Shochiku, The End of Summer does contain a few unique elements.
First and foremost, there's the casting: while there are a few Ozu regulars in the movie, it also features Toho mainstays such as Michiyo Aratama, Keiju Kobayashi, and the irrepressible Reiko Dan, who is perfectly believable as someone who would go out on a date, with a gaijin no less, while her (possible) father is lying dead on the floor (this film generally offers a great blend of comedy and pathos). One could also add Yôko Tsukasa to the list, who appeared earlier in Ozu's Late Autumn, one of her rare forays outside the studio.…
I love when all the little details of a film come together. Here, we have the main character whose profession is a sake brewer. We have Setsuko Hara working at an art gallery. Even before I've watched this, those details got me excited. Because I knew we'd get shots of art on the wall and shots inside the brewery (which we do).
This is probably Ozu's most modernized film. I feel for the first time, we've made it to the big city. Sure, almost all his films are set in Tokyo and we get tons of shots of buildings, bars, etc. But here, we have extensive use of neon signs. We also have the first scene take place in a…
I can't believe Akiko (Setsuko Hara) dissed Isomura Eiichirou (Hisaya Morishige). Poor guy. :(
What you would expect from Ozu. Another social family drama from traditional Japan. But what is amazing about Ozu and this film is he can keep on making the same type of movies over and over again but they never appear tiresome and never fail to impress. Ozu is probably one of the few directors incapable of making a bad film, granted I say that with having only seen a third of his repertoire. The End of Summer treads slightly on unique ground compared to his other films as it successfully attempts to blend comedy and tragedy into one film. One may look at this film and his later works such as An Autumn Afternoon made so closely right before…
i wish letterboxd allowed me to review the 1.6 episodes of Deep Space Nine i watc a day, but instead all it lets me review is slowly paced asian cinema, so im forced to watch more
Will watch his films forever. I have a real love for the last half dozen films he did in color as his use of it seemed from a lifetime of study. Though these characters and stories all feel familiar to his others, you can't help but be pulled into his simple world.
Ozu's most metal film. Contains a lot of laughs, but I was taken aback by its grimness. The final shot of the crows surrounded by gravestones. Damn.
Was kann ich über Yasujiro Ozu schreiben, das noch nicht über ihn in Worte gefasst wurde. Er gehört zu den größten Regisseuren aller Zeiten und hat uns subtile ruhige Filme geschenkt, deren Menschlichkeit über Japans Grenzen hinaus jeden berühren. Ich könnte über die Wirkung seiner "Pillow shots" schreiben - von der Geschichte unabhängige Aufnahmen von der Umgebung oder leeren Räumen oder leblosen Dingen; ein Stillleben beinahe - und über die Art wie die Kamera immer knapp am Boden positionierte, wenn er Personen in ihrem Zuhause gefilmt hat. Aber darüber würde schon ausführliche und bessere Abhandlungen verfasst. Ich kann Yasujiro Ozus Filme - auch diesen hier "The End of Summer" - allen nur empfehlen, denn das großartige und beeindruckende an seinen Filmen ist, wie lange sie einem noch im Hinterkopf bleiben und wie spät teilweise sie erst ihre Wirkung entfalten; manchmal erst Tage später.
My least favorite Ozu film to date, although I didn't hate it and I've only really hit the canonical highlights of his filmography so far, so that doesn't necessarily mean much. The expanded family tree in this one, coupled with the relatively short run time, meant that each of the characters had fewer moments to emerge as inescapable personalities, and the goofy patriarch Manbei was both the center of the film and its least interesting element for me. Still, the performances were strong as always, and it was fun to see Americans make an appearance in an Ozu movie, albeit only in glimpses.
Those familiar with the films of Yasujirō Ozu will likely be startled by the opening shot of The End of Summer. Instead of a typical domestic scene, Ozu’s penultimate film begins by establishing modern Osaka, complete with neon billboards that grapple for one’s attention. A key advertisement reads NEW JAPAN, literally demonstrating the recurrent theme of traditional Japanese culture vs. encroaching modernity. In his late films, Ozu seems to have fully come to terms with the younger generation. That is not to say that he doesn’t have a great affection for the widowed patriarch (Ganjiro Nakamura) of The End of Summer, but the film is about how his children overcome their father’s influence and begin to live their own lives.…
Has one of my most remembered moments in any Ozu movie in about the last seven minutes, then yet after that ends with shots of crows on graves to crescendoing music confirming that it's a death movie.
I had a difficult time getting into the film. There's humor within it, but the narrative never had any grasp on me and I found myself never caring for the characters.
My first encounter with Ozu was in a video essay. Narrator said, the camera almost always didn't move. And it works in TEoS.
I felt more involved in the spaces Ozu presents to us, like a guest, compared to the 16:9 stuff we get today with perhaps too many fancy camera moves. 4:3 is pretty cool.
Performances were great.
Locations were great. Background elements were crucial, planned like a modern manga chapter, but nonetheless so good to see. Two examples:
1) the part when old guy is followed by younger guy, in the background, the passing parasol-ladies keep the streets real (make it look not-deserted)
2) the part when widowed lady (WL) is speaking to another lady (AL) by a…
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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