This review may contain spoilers. I can handle the truth.
Ozu’s final film looks again at the problem of the upper middle class marrying off daughters, with another variant in perspective. But like “Good Morning” and “ Kohayagawa Family” there is some shift back towards the comedy and nansensu stylings of the 1930s films that were once Ozu's bread and butter. And the opening credits seems to confirm this call back to 30s comedies, instead of the familiar cross hatched brown (tatami mats? Burlap?), of Ozu’s post-war films, this films…
