This set represents the fourth released set of Yasujiro
Ozu's (1903-1963) Japanese films and contains Late Autumn
(1960) and his last film An Early Autumn (1962). Both
films explore the usual Ozu themes of tradition verses modernity,
families and the changes that age brings. It is for this reason
that many of his film titles refer to the changing seasons
of the year.
In
Late Autumn (Akibiyori) a widow, Akiko Miwa
(Setsuko Hara), is feeling guilty that her daughter, Ayako
(Yoko Tsukasa), is stuck at home, so she determines to find
her a partner, even though the girl will not contemplate leaving
her mother all alone. In order to break this impasse Akiko's
dead husband's friends decide to find a partner for her as
well...
On
the face of it you might be excused for not believing me when
I say that this is one of Ozu's funniest films and therefore
one of his most accessible for a western audience. The film
is best described as a gentle comedy of marriage and manners.
Thematically, we are defiantly in Ozu land. The film opens
with a memorial service for Akiko's late husband and closes
with a wedding; you can almost hear Elton John singing Circle
of Life in the background. The three friends of the dead man
are all in love with Akiko, though, two are already married,
so it falls to Hiriyama to woo the widow so that the daughter
can move on. Problem is, they fail to mention this brilliant
plan to Akiko herself.
Although, more light-hearted than some of his previous films
which explored the same dilemma, this in no way lessens Ozu's
power as a director and story teller. Visually, the film is
a delight, with the lush tones of the Agfacolour bringing
out the best in the beautifully composed shots, in soft autumnal
tones. Balance is an important part of Ozu's style - whether
it is the balance between the actors and the set or the balance
within the narrative.
For some who are not used to his style of film making some
of the elements may be a little jarring. Although Ozu was
initially influenced by the American films of his youth, it
was an influence which in later life he would distance himself
from, he quickly moved away from the general rules of Hollywood
movie making. Without the benefit of any formal training in
film making - he started making films when it was still not
seen as a proper job, much to the disappointment of his family
- Ozu evolved his own peculiar style which owed little to
either American directors or his own Japanese contemporaries.
Often, scenes which would have forwarded the narrative, and
would have been shown in a western film, are either spoken
about later or happen off screen. Ozu is interested in the
deeply personal lives and feelings of his characters and often
tries to show those quite contemplative moments which are
so fleeting in modern life.
As mentioned before, the film is a visual treat. The disc
comes with the original Japanese stereo track and a theatrical
trailer.
Disc two contains Ozu's last film An Early Autumn (1962).
This disc is also presented in its original aspect ratio with
a Japanese stereo track, and subtitles. The disc also contains
the original theatrical trailer.
In An Early Autumn, widower Shuhei Hirayama (Chishu
Ryu), lives with his unmarried daughter Michiko (Shima Iwashita)
and son Kazuo (Shinchiro Mikami). Although his daughter is
of marriageable age, her father seems relatively unaware of
the situation, nor does Michiko do anything about it. Events
and perspectives change when Shuhei meets up with an old respected
teacher who is now a drunk and making his living selling noodles.
His drinking, which mirrors Shuhei's own increasing consumption,
and his old teachers reliance on his daughter makes Shuhei
re-evaluate his own position with his daughter and determines
that she should have a marriage of her own...
Although,
the themes of domesticity are similar to Late Autumn,
it would be disingenuous to accuse Ozu of repeatedly making
the same film. This would be akin to accusing Hitchcock of
only making thrillers, or Chaplin of only making comedies.
These are films with their own individual voices when looking
at the generational differences.
Like all of his movies these films are beautifully shot and
well worth a couple of hours of any real film fans time.
Charles
Packer
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