1949 ‘晩春’ Directed by Yasujirō Ozu
Noriko is perfectly happy living at home with her widowed father, Shukichi, and has no plans to marry -- that is, until her aunt Masa convinces Shukichi that unless he marries off his 27-year-old daughter soon, she will likely remain alone for the rest of her life. When Noriko resists Masa's matchmaking, Shukichi is forced to deceive his daughter and sacrifice his own happiness to do what he believes is right.
Chishū Ryū Setsuko Hara Yumeji Tsukioka Haruko Sugimura Hohi Aoki Jun Usami Kuniko Miyake Masao Mishima Yoshiko Tsubouchi Yōko Katsuragi Toyo Takahashi Jun Tanizaki Ichirō Shimizu Youko Benisawa Manzaburo Umewaka Nobu Nojima Ichiro Kitamura Haruo Yasufuku Tadaichi Aoki Seiju Kanze Shintaro Umewaka Shizuo Kanze Seiji Toda Kozo Fukuda Shinichiro Takayama Seinosuke Ishida Yutaka Aoki Kinzo Hasegawa Gazan Hasegawa Show All…
Yoshisaburo Seno Hirofumi Satô Yoshiomi Hori Hidetaka Sasaki Rokusaburô Saitô Kôjirô Suematsu Ryô Ôfuji
Kathysterimeni anoixi, La fin du printemps, Myöhäinen kevät, Banshun, Primavera tardía, Kasno proljece, 만춘, Printemps tardif, Tarda primavera, Später Frühling, 晚春, אביב מאוחר, Geç Gelen Bahar, Поздняя весна, Primavera Tardia, Későtavasz, Pai e Filha, Sent om våren, Późna wiosna, Късна пролет, Καθυστερημένη άνοιξη
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Finland
Finland
Germany
Japan
Netherlands
USA
seems so silly to think of how intimidated i was by ozu before watching any of his movies. i always figured i’d need to be “sharp” enough to properly digest his slow, meditative approach. but really (and i’ve only seen two so far) his movies could not be more inviting. it’s so easy to sink your way into his style; the characters and their relationships to one another are so naturally charming and his shots are always framed in a way where you feel like you’re either in the room or directly in the conversation. and late spring, more than good morning, proved why you would make a movie like this. in a movie full of sincere/believable relationships—regardless of how…
Ozu is a master in captivating and engrossing the audience with ordinary, simple stories, dilemmas and predicaments faced within a family. Tokyo Story my first Ozu feature is a shining example of this trait and Late Spring is no different from the former. Ozu’s magic lies in taking ample time and weaving the story in such a manner that the viewer after about half an hour into the film feels totally at home, accustomed, comfortable, cares for the characters on screen, naturally empathizes with them and begins to feel a true sense of belonging. Coming to greater aid are the absorbing performances from the Ozu’s usual cast members who bring to the table such pitch perfect portrayals without ever allowing…
Late Spring is a unique experience: it washes over you, pulls you into a meditative trance, and leaves you feeling oddly happy and satisfied, regardless of the outcome of the events taking place onscreen. I’ve never felt quite so peaceful watching a film; I’m the sort to get involved, to mutter instructions and warnings at the characters, to gasp out loud at a startling turn of events. It wasn’t so with Late Spring. The characters were frustrating in their stubbornness, but for once I didn’t mind; I just wanted to stay in this calm, beautiful world as long as possible.
Late Spring is a story of internal conflict, of the way relationships grow and shift, and eventually grow old. On…
Ozu may not move his camera much, but when the compositions and emotions they conjure are this immaculate, why would he? Besides, no director who can make an action as simple as the peeling of an apple a devastating, poignant culmination can be considered anything less than great.
This is my first Ozu, and there’s a heavy burden to appreciate an acclaimed master. Slow, meditative, and uniquely paced were expectations I had going in from the advice of experienced Ozu friends here.
As the film concluded, I was touched. Not deeply touched, but touched none the less. It was apparently clear that this was Japan in transition, and how this transition affected the populous across generational lines, particularly women. The central story is simple; so simple in fact that your mind is left free to contemplate. I made a list of things I noticed right after the screening yesterday afternoon, and rather than try and blend them into a cohesive review today, I’m just expanding on them here.…
Conquering Ozu's seasons-related English international titles
In simplicity lies complexity. Every frame in Ozu's dramas is filled with striking still poetry, like showcasing a static, deeply touching and yet understated post-war transition communicated with the simplest of body cues and yet with the most complex emotions. Masterfully stroked and featuring the immortal Setsuko Hara, Ozu becomes the first master to display her astonishing acting versatility, presenting her first as a bigger-than-life young woman with an indestructible smile only to challenge preconceived notions about the characters, subtly escalating a family nest tension that faces imminent separation in the name of life's transcendence. Hence, he becomes the first notable director to ever feature her cry, something that only Naruse would deliver with…
This wasn't at all what I was expecting.
It felt like a Japanese version of a typical Hollywood movie. We have the doting father. The All-American girl with the big smile being light-footed, chatty, flirtatious, without a care in the world other than taking care of her father. The busy-bee aunt who must look after her motherless niece, butting into her life especially with regards to her soon-to-be-spinster status. The blind date with the guy who looks like Gary Cooper. And all that talk of marriage, as though the most important thing in the world is finding a man (and hey, if you don't like him, just divorce him. Easy peasy.)
Of course this story reflects the post-war era. Countries…
I feel kind of guilty.
No, not guilty - sad. Knowing that Setsuko Hara wasn't actually a fan of her roles in Ozu's films. Knowing that, when asked about her favorite appearances, she went out of her way to not discuss her performances in Ozu's films. Knowing that she preferred more "challenging" material (she really wanted to work more with Kurosawa, for example). Knowing that she felt like she couldn't identify with the characters she will forever be remembered for.
I feel sad to a degree because, despite knowing all of this, I can't help but adore her in these roles. Late Spring in particular is my favorite performance from her in an Ozu film to date. The combination of…
