Many who see this film might be caught off guard when they see that despite being made in 1932, the film is still silent. Well, although the US had effectively made the switch in all their films by 1929, much of the world was way behind. In Japan, silents would continue well into the 1930s, so don't be put off by this--the Japanese film industry simply didn't have the equipment.
I WAS BORN, BUT... is a film by the famed director Ozu. He is much more known for his sound films (such as TOKYO STORY) as well as his trademark camera-work (such as a stationary camera placed relatively low towards the ground in scenes inside Japanese homes). While some of the same camera-work is present (the camera does not pan or turn), there were also a few scenes using a dolly to move the camera to keep up with people as they move in outdoor scenes--a relatively modern idea. Also, like most Ozu films I have seen, the story involves ordinary folk and the action is relatively muted.
The story is about two young boys who move to a new neighborhood. They have a lot of trouble because of bullies but despite a tough transition to school, the kids adore and respect their father. They think that he's a big man at work whereas in reality he's not. To make it worse, when the boys realize their father is a bit of a "brown noser", they lose faith in him. There's far more to the story than that and I really marveled at how the director managed to portray kids well. All too often, kids are over-idealized or act like miniature adults. Here, they're kids. And, in some of the scenes with the kids in the neighborhood, the film actually resembles a Little Rascals flick in many ways--with a bit of comedy thrown into the drama.
Interesting and worth seeing--especially if you compare it to Ozu's later work.
I WAS BORN, BUT... is a film by the famed director Ozu. He is much more known for his sound films (such as TOKYO STORY) as well as his trademark camera-work (such as a stationary camera placed relatively low towards the ground in scenes inside Japanese homes). While some of the same camera-work is present (the camera does not pan or turn), there were also a few scenes using a dolly to move the camera to keep up with people as they move in outdoor scenes--a relatively modern idea. Also, like most Ozu films I have seen, the story involves ordinary folk and the action is relatively muted.
The story is about two young boys who move to a new neighborhood. They have a lot of trouble because of bullies but despite a tough transition to school, the kids adore and respect their father. They think that he's a big man at work whereas in reality he's not. To make it worse, when the boys realize their father is a bit of a "brown noser", they lose faith in him. There's far more to the story than that and I really marveled at how the director managed to portray kids well. All too often, kids are over-idealized or act like miniature adults. Here, they're kids. And, in some of the scenes with the kids in the neighborhood, the film actually resembles a Little Rascals flick in many ways--with a bit of comedy thrown into the drama.
Interesting and worth seeing--especially if you compare it to Ozu's later work.