Late Spring - Criterion Collection (1949)

Great

If one were to think of an equivalent to the film style of director Yasujiro Ozu it would have to be long novels suffused with detail, but never superfluous detail. Books such as Herman Melville's Moby-Dick- with its descriptions of the whaling industry and vessels, John Steinbeck's The Grapes Of Wrath- with its detailed rendering of the lives of migrant workers, and especially Betty Smith's A Tree Grows In Brooklyn- with its child-like view of a world that overwhelms fresh senses, come to mind, even though the film checks in at a mid-length range of an hour and forty-eight minutes. Ozu's cinema is utterly shorn of melodrama, for all that occurs within its frames advances some aspect of narrative, character development, or social commentary. Yet, some of the most affecting scenes in the whole of his 1949 film, Late Spring (Banshun), are realistic shots of toenail clippings or apple peels, designed to allow the viewer to feel they are intruding in on the reality of the characters. Then there are seemingly throwaway details that also lend authenticity, such as when a meter reader from the electric company comes and requires a stool to read the meter. It has nothing to do with the tale nor symbolism, but immediately `realizes' the situation for most viewers, especially when a more important character has to get the stool for the ephemeral character.
This film not only was a change in technique and tenor for Ozu, from more socially blunt works, but marked the beginning of the final phase of Ozu's long career, where his focus became almost exclusively the Japanese family unit in the post-war transition years, and his camera movement started to become more and more static with every film released. The film was penned by Ozu and longtime collaborator Kôgo Noda, from a novel called Father And Daughter, by Kazuo Hirotsu. The very naturalistic style of the screenplay and camera work lends an air of realism to Ozu's style that has often been compared to Italian Neo-Realism of the same era, although Ozu's work from this era was never as overtly political as that of the Italian filmmakers. The film follows the life of an aging father, a professor, Shukichi Somiya (Chishu Ryu), and his twenty-seven year old daughter, Noriko (Setsuko Hara), who still lives at home. Worried over her ending up alone, and prodded on by Noriko's aunt Masa Taguchi (Haruko Sugimura)- sister of Shukichi or his wife (it's never delineated), he tries to push his daughter out of the nest and into marital bliss. We never learn what happened to the wife and mother of the household, but we can guess she was killed in the war. We do learn that Noriko was in a labor camp and was very ill and skinny, but has now gotten healthy and plump, according to one of Shukichi's Academic colleagues, Jo Onodera (Masao Mishima), whose remarriage Noriko deems distasteful and filthy. Onodera is a jovial man, and merely one of many who seems to obsess on Noriko's marital status.... What makes Late Spring a great film is that, like great classic novels, it is never preachy nor condescending, but involving. Think of the great novels I compared it to, and then think of the crap put out in recent years by big name authors such as Joyce Carol Oates, T.C. Boyle, or Toni Morrison, and then think of this film and preachy PC films like Brokeback Mountain or Crash, and the comparative difference is manifest. Late Spring can be political when a character takes up an empty seat with his belongings or when Hara forces a smile. One need not have a character stick his tongue down another male character's throat, nor his fingers between a female characters' leg to denote the political stance of the film and filmmaker.
Then there are the terrific technical cinematographic aspects of the film- by Yuharu Atsuta, such as Ozu's patented low angle shots; eyeline mismatches; limited camera movement- such as when Noriko and Hattori go biking, yet it seems as if the world moves by them, not the other way around; the lack of interstitial fades and dissolves; as well as narrative devices, such as ellipses- as when we see Noriko's devastation at her father's supposed remarriage, and then transition to her seemingly positive and happy reaction to meeting `Gary Cooper;' and transition shots of unidentified locations to link themes and elided time intervals. In many ways, the camera of Ozu frames life similarly to that of Danish director Carl Theodor Dreyer, or the great Dutch painting masters, where space, the tension built by spare movement, and the relative positioning of characters is all important.
Ozu has tritely been labeled the most Japanese of all directors by lazy critics, as opposed to his two great contemporaries- Kenji Mizoguchi and the far more famous Akira Kurosawa, both of whose reputations were made with historical dramas, but Ozu is actually the most modern of all the classic directors from Japan, and probably the most Western, if not in approach then in attitude. Late Spring shows this to be true, and considering that the film was a distinct reinvention of the man's art, its success is all the more noteworthy. It's akin to a minor dime store novelist from the late 19th Century all of a sudden morphing into Mark Twain. Were most midlife crises handled as ably- nay, greatly- as this the work of such an artist as Yasujiro Ozu would not be needed to illumine the problem. It almost makes one wish for the human race to be continued to be plagued with ills, for only then will the relevance of such artistic rendering still be appreciated, right along with the greatest of novels and novelists.
And the great shroud of the sea rolled on as it rolled five thousand years ago....
September 14, 2008

Fathers and Daughters, Love and Marriage

Many of Ozu's films are variations on a theme. He would take essentially the same characters, and essentially the same them, but run them through a different set of circumstances. Always about the family, sometimes he would focus on the sons, sometimes the mother, sometimes the father, and sometimes the daughter. When the daughter is involved, there are sure to be prospects of marriage.

"Late Spring" ("Banshun") is a Father/Daughter play, focusing on the relationship that can develop when a widower father is being tended to by his single daughter. Both are happy with the relationship, and love each other, but know deep down that the daughter must leave to live her own life, that happiness cannot be found only in being a dutiful child, but that a woman can also be a wife, a lover, a mother and many other things that are closed to her when she takes on the role of platonic wife and caregiver to her father. The father must free the caged bird that his is daughter, even though it will decrease his own happiness. He knows she will never leave on her own, so he devises a plot that he will re-marry, and that he doesn't need her anymore.

The usual cast is assembled. Ryu Chishu is the father in this movie, as he would be again in Tokyo Story, although he was the older brother in the similar-themed Early Summer. Hara Setsuko is, of course, the loving and perfect daughter Noriko, the same name her character would take in almost every Ozu film. These two are the consummate Ozu actors, able to realize his vision and themes so fluidly and naturally it is impossible to see anyone else in their roles.

As usual, Ozu's genius with imagery and subtly is beautiful to behold. Two people walking by a Coca Cola sign becomes so much more, even though nothing overt must be said. The unspoken element is far more important than the dialog, and all the still waters of the surface churn with hidden depths and struggles. The new subtitles by Kerim Yasar are a perfect vehicle for non-Japanese speakers to connect with the story. Very little is lost in translation, and it is a good collaboration between the two.

This Criterion DVD also contains the documentary Tokyo-Ga, directed by Wim Wenders. Not specific to "Late Spring", it seeks the world of Ozu, visiting locations and interviewing old cast members to try and understand the simple secrets. It is an excellent addition, and sets a good stage for those who have never seen Ozu before, but would like to know more.
June 25, 2008

A giant film that exudes humanity!

Yasujiro Ozu proves once again, why he was the most sensitive Japanese poet in what familiar relationships concern. His films are like a set of Haikus, plenty of filial and disinterested love.

A wealthy, old and widowed father (56) is really worried about the destiny of his own daughter (24) because he is aware about the huge devotion she feels for him. But the years will pass and someday she will have to find a man in order to get marry. He knows it and although all his advises, she remains indifferent. That is why knowing she became maid in a recent future, he will make the best he can to find for her a good man capable to deserve her.

The sake on the other hand, is an affective illusion, a relief for his loneliness and hopeless due he is aware the end is near.

As we may expect both affective lines will intersect conveying us to find the meaning and profound transcendence of love in our lives.

An intense, haunting and poignant film that must be seen keeping in mind the poetic atmosphere that will permeate the movie from start to finish.

April 23, 2008

Still amazing...

I discovered this film a long long time ago and have loved it ever since. A bit similar to Early Summer and Tokyo Story (probably his most famous masterpiece), this delicate and intimate film is by far my favourite Ozu. A very moving family drama with amazing acting, especially by Setsuko Hara who plays the daughter Noriko. Torn between tradition, her father's wishes and her own feelings, coupled with a meddling aunt and friend, she tries desperately to keep things as they were - too afraid to leave her father and the safety of the family home, she feels pushed to pursue the unknown...

This edition has a good transfer considering the age of this film. The audio-track has some distortions though. The commentary track on this Criterion edition is fantastic by the way, as well as the documentary on the bonus disc. An amazing film and a great DVD-edition.
April 15, 2008

"Remember we married other men's daughters."

Directed by Yasujiro Ozu, Late Spring is the story of Noriko Somiya (Setsuko Hara), who lives with her widowed father Shukichi (Chishu Ryu) in their traditional Japanese home. She cares for him as a wife might, making him dinner at night and mending his socks. He worries about her; she is already 27 years old and seems to have no intentions of marriage. He and his sister (Haruko Sugimura) gang up on Noriko to find her a husband, but she feels betrayed by her family. She feels she can be no happier than she already is and does not want to abandon her father.

Be forewarned that this movie is not filled with action. In fact, you may find yourself wondering when things are going to get going. The style of the film simulates reality. Something exciting does not happen everyday, so neither does it in this film. This approach makes the characters seem more relatable, and the performances given are excellent. Hara is beautiful and subtly emotional. Ryu is very lovable with his toothy grin and easy-going manner. Sugimura is delightfully funny.

The picture is beautiful, which complements the photography wonderfully. There are a few moments of scratchiness toward the end, but it is easily ignored. The most memorable scenes are those set in Kyoto, especially the outdoors scenes. One can just feel the fresh breeze and the warm sun glowing down. Many of the shots are taken from low angles, which gives the audience an interesting perspective. There is minimal movement throughout the film, which leaves one feeling calm and introspective. The theme of change is very powerful, but it is presented in a very non-threatening way. Perhaps this is why Ozu is so effective as a director. February 21, 2008

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