The qualities of Yasujiro Ozu's movies are complex to demonstrate: simple stories of simple people, everyday dialogues, slow pace, fixed cameras, images with plain beauty. Also, they probably have more meaning for a Japanese audience who better understands their cultural, visual and historical references.
On the surface, many of Ozu's films seem similar: the plots look familiar and the style is recognisable among many. Yet he always introduces variations and progresses in his form with perfectionist care. He is a craftsman of cinema and as such, even subtle differences create an altogether new piece of art, like a painter representing different versions of resembling subjects.
Ozu was somewhat resistant to change. When he directed silent movies and the industry moved to talkies, he was unwilling to follow: he did so when he had no choice in 1936, nine years after the introduction of sound. He continued directing black and white movies until 1957 as he did not want to switch to colour. When he finally reluctantly did so, he liked it so much he only directed colour movies. However because he died in 1963, there are only six of these, in a carrier of more than 50 films. It is unfortunate, because his use of colour is masterly, as notably shows in "Late Autumn".
His masterpiece is considered to be "Tokyo Story" (1953). Nevertheless, despite all its qualities, I still prefer "Late Autumn" (original title "Quiet Autumn Day"). Its story is close to "Late Spring" (1949), but notably differs by the style (of which colour is only an element) and the humour.
THE OLD AND THE NEW
It is the story of two middle-aged men, Mamiya and Taguchi, who want to find a husband for the young Ayako, daughter of their late friend. However Ayako lives with her mother Akiko and does not want to leave her alone, so the ploy is to marry Akiko to their widowed friend Hirayama. As we see, the movie is about arranged marriages: the two women are tools of the male manoeuvre. But this will partly backfire, tactically and emotionally.
The movie shows a traditional society turning into a new one. On the one hand: arranged marriages, etiquette, dominant males working in top positions while their wives stay home. When Taguchi comes back home, he drops his clothes on the floor for his wife to pick up. His daughter prepares a bath for him. They think everything will happen according to their plans. Hirayama, however, is on the side: less dominant, more passive.
They believe they can be allowed anything.
On the other hand, their entourage escapes their control: this is when is movie is most humorous.
IMMATURE CHARACTERS
More profoundly, the general stratagem reveals concealed passions: Mamiya and Taguchi were in love with Akiko, and actually still are. They are jealous Hirayama can marry her. They appear weaker than are willing to admit, manipulating others yet unable to acknowledge their emotions, while their wives perceive their hidden feelings. Bygone loves, deceased spouses, fading traditions: it is a nostalgic movie.
To illustrate the story, Ozu magnificently uses colours. Objects are flashy blue, green and most noticeably red. On the contrary, characters mainly dress in conventional tones. They are sometimes seen behind colourful objects in the foreground (bottles, bowls, glasses, cups, etc.). Also, Ozu occasionally introduces "empty" shots without persons. We feel as if objects had more presence than characters: the latter seem to play stereotyped roles. They have plain conversations, gossip, focus on simple ideas, spend their time drinking; they frequently look dull, indecisive, awkward or immature. The point of view on characters is slightly satirical. Exceptions are the quiet yet strong Akiko and the outspoken Yuriko.
SUBLIME ENDING
To be honest, until the end, the movie is "only" very good. However the last ten minutes are for me among the greatest in cinema history. Akiko and Ayako make a last trip together, which is very nostalgic and moving. Then, the marriage is dazzling, supported by ravishing music. Everybody is motionless and silent, like objects precisely. A few gazes loaded with emotions summarise the whole story: Akiko looks melancholic, Yuriko happy, Hirayama resentful, Taguchi's wife embarrassed (for Hirayama). Apart from Yuriko, there is no sign of joy. The newly wed, very handsome in their costumes, are stiff like statues, their faces without feelings. It feels as another "empty" shot. The entire scheme has culminated to this hollow formality: the final irony, wrapped in delightful form.
After a bitter scene where Hirayama expresses his rancour, the movie closes on Akiko. She has a sad and gentle look: she is alone, but her daughter can be happy, so she thinks. Her sacrifice is touching. The final image shows her corridor, but instead of having three lights on as usual, there are only two: Akiko is left with the remembrance of her late husband (two lights) since Ayako is gone (absent light).
On the surface, many of Ozu's films seem similar: the plots look familiar and the style is recognisable among many. Yet he always introduces variations and progresses in his form with perfectionist care. He is a craftsman of cinema and as such, even subtle differences create an altogether new piece of art, like a painter representing different versions of resembling subjects.
Ozu was somewhat resistant to change. When he directed silent movies and the industry moved to talkies, he was unwilling to follow: he did so when he had no choice in 1936, nine years after the introduction of sound. He continued directing black and white movies until 1957 as he did not want to switch to colour. When he finally reluctantly did so, he liked it so much he only directed colour movies. However because he died in 1963, there are only six of these, in a carrier of more than 50 films. It is unfortunate, because his use of colour is masterly, as notably shows in "Late Autumn".
His masterpiece is considered to be "Tokyo Story" (1953). Nevertheless, despite all its qualities, I still prefer "Late Autumn" (original title "Quiet Autumn Day"). Its story is close to "Late Spring" (1949), but notably differs by the style (of which colour is only an element) and the humour.
THE OLD AND THE NEW
It is the story of two middle-aged men, Mamiya and Taguchi, who want to find a husband for the young Ayako, daughter of their late friend. However Ayako lives with her mother Akiko and does not want to leave her alone, so the ploy is to marry Akiko to their widowed friend Hirayama. As we see, the movie is about arranged marriages: the two women are tools of the male manoeuvre. But this will partly backfire, tactically and emotionally.
The movie shows a traditional society turning into a new one. On the one hand: arranged marriages, etiquette, dominant males working in top positions while their wives stay home. When Taguchi comes back home, he drops his clothes on the floor for his wife to pick up. His daughter prepares a bath for him. They think everything will happen according to their plans. Hirayama, however, is on the side: less dominant, more passive.
They believe they can be allowed anything.
- Mamiya arrives late at the memorial service at the beginning and makes a disrespectful remark about being too early.
- They make ill-placed allusions about a waitress being ugly, in front of her.
- When Hirayama is turned down at the end, the two other men don't care.
- Their intentions are decent, but because their mental frame is old-fashioned, they act clumsily.
On the other hand, their entourage escapes their control: this is when is movie is most humorous.
- Their wives make sarcastic comments, either in front of them, either behind their back (i.e. the conversation between the two ladies).
- Their children resist their authority, talk frankly, answer back. Taguchi's young son makes insulting gestures behind his father's back.
- His daughter married because of love, not rationale, which her father does not understand.
- At one point, Yuriko, who has a junior position in the company, scolds the three bewildered men. Already funny for a Western audience, this scene must have been a shock for 1960s Japanese spectators. Afterwards, she fools them by bringing them to a restaurant that is actually her parents'. And she manipulates Hirayama by promising Akiko will marry him.
IMMATURE CHARACTERS
More profoundly, the general stratagem reveals concealed passions: Mamiya and Taguchi were in love with Akiko, and actually still are. They are jealous Hirayama can marry her. They appear weaker than are willing to admit, manipulating others yet unable to acknowledge their emotions, while their wives perceive their hidden feelings. Bygone loves, deceased spouses, fading traditions: it is a nostalgic movie.
To illustrate the story, Ozu magnificently uses colours. Objects are flashy blue, green and most noticeably red. On the contrary, characters mainly dress in conventional tones. They are sometimes seen behind colourful objects in the foreground (bottles, bowls, glasses, cups, etc.). Also, Ozu occasionally introduces "empty" shots without persons. We feel as if objects had more presence than characters: the latter seem to play stereotyped roles. They have plain conversations, gossip, focus on simple ideas, spend their time drinking; they frequently look dull, indecisive, awkward or immature. The point of view on characters is slightly satirical. Exceptions are the quiet yet strong Akiko and the outspoken Yuriko.
SUBLIME ENDING
To be honest, until the end, the movie is "only" very good. However the last ten minutes are for me among the greatest in cinema history. Akiko and Ayako make a last trip together, which is very nostalgic and moving. Then, the marriage is dazzling, supported by ravishing music. Everybody is motionless and silent, like objects precisely. A few gazes loaded with emotions summarise the whole story: Akiko looks melancholic, Yuriko happy, Hirayama resentful, Taguchi's wife embarrassed (for Hirayama). Apart from Yuriko, there is no sign of joy. The newly wed, very handsome in their costumes, are stiff like statues, their faces without feelings. It feels as another "empty" shot. The entire scheme has culminated to this hollow formality: the final irony, wrapped in delightful form.
After a bitter scene where Hirayama expresses his rancour, the movie closes on Akiko. She has a sad and gentle look: she is alone, but her daughter can be happy, so she thinks. Her sacrifice is touching. The final image shows her corridor, but instead of having three lights on as usual, there are only two: Akiko is left with the remembrance of her late husband (two lights) since Ayako is gone (absent light).