Yasujiro Ozu

[Fan-of-Kurosawa]

Do you think that Criterion/Eclipse will release the rest of Ozu's silent films on dvd?

I was wondering because Eclipse No 10 is called Silent Ozu - Three Family Comedies. It is not for example Silent Ozu Vol. 1 or something. Of course the next one could be Silent Ozu - Early Dramas or whatever but it appears unlikely to me.

Of course, everything could just depend on the sales of the existing boxset.

[stalker_ozu]

It can be possible, I was wondering If it is true that they are going to release THE ONLY SON in the main line, but I will be happier if they release a Boxset in Eclipse called "Japanese cinema of the 30s" Containing The Only Son (Ozu), Sisters of Gion (Mizoguchi) Osaka Elegy (Mizoguchi) ??

[Michael Kerpan]

Even if Criterion and Eclipse don't plan to release "the complete Ozu" eventually, there are enough important films to fill up at least a couple more box sets.

Other fairly essential Ozu (beyond that mentioned alreadfy) -- Walk Cheerfully, Woman of Tokyo, Dragnet Girl, Tokyo Inn (utterly essential), What did the Lady Forget, Record of a Tenement Gentleman, Flavor of Green Tea Over Rice.

[stalker_ozu]

Even from Ozu there are some masterpieces that havent yet released like THE ONLY SON (considered by the neoformalist Burch to be his best film) and There Was a Father. Also I am still waiting for the great Taste of Sake aka An Autumn Afternoon. By Releasing those films I think that Ozu is almost fully covered (maybe the completists and many fans like me could disagree with that).

Other fairly essential Ozu (beyond that mentioned alreadfy) -- Walk Cheerfully, Woman of Tokyo, Dragnet Girl, Tokyo Inn (utterly essential), What did the Lady Forget, Record of a Tenement Gentleman, Flavor of Green Tea Over Rice.

It would be the best day in my life the day I can watch Woman of Tokyo, Walk Cheerfully, Dragnet Girl, Tokyo Inn I think the panoramas dvds are the option becuase I think Criterion will never release many of those that You mentioned. By the Way I Was Born but ... has become one of my favorite Ozu along with the Noriko Trilogy, it is very beautiful in every way, but I think is difficult to define an Ozu top, I have liked every single Ozu movie that I have seen

[Michael Kerpan]

> I have liked every single Ozu movie that I have seen

Well, there is always Munekata Sisters to reckon with. ;~}

[ptmd]

It would be the best day in my life the day I can watch Woman of Tokyo, Walk Cheerfully, Dragnet Girl, Tokyo Inn I think the panoramas dvds are the option becuase I think Criterion will never release many of those that You mentioned

Janus owns the rights to almost all the Ozu films (the subpar Munekata Sisters being one of the few exceptions) and they paid to strike new prints of all of them back in 2003, so I would be very surprised if these don't turn up sooner or later, even if it does take another couple years. In the meantime, the Panorama DVDs will do fine, although does anyone know if they plan to release any more? The last one came out a year or so ago and there hasn't been any news since then.

[Michael Kerpan]

Not only has Panorama's Ozu series stalled, but so has the Tora-san one. Perhaps there is some corporate discord...

;~{

[HerrSchreck]

Walk Cheerfully -- probably Ozu's most visually playful film ever (at least of those that survive). He plays cinematic tricks here that he never tries elsewhere. The story is a bit thin -- but this is not the main attraction of the film..

After your quotes on Kwaidan I was surprised to read this Mike. This is almost a defining feature of this particular Kobayashi (though of course the visualizations and quiet, paced mise en scene in the this are different though I havent seen this Ozu). Wasn't Ozu toying with western visual conventions hereabouts too?

[Michael Kerpan]

Walk Cheerfully has Ozu playing lots and lots of visual tricks -- with light, with camera movvement, with close-ups, with form matching. Unlike Kwaidan, this is unusually lively -- even for early Ozu. (I don't see Kwaidan as "quiet" so much as "plodding").

[HerrSchreck]

Your expertise on Ozu roasts mine out of existence-- only seen the available standards.. but I recall you saying you disliked the western influence in Kwaidan, but I know this was a feature of some of Ozu's earlier work, re Lubitsch in particular (Sternberg I'm not so sure about, though a possibility). How much western influence is in evidence in "Walk Cheerfully"?...

This interests me in general as I bone slowly up on the sense of cross talk between the early Shanghai, German, Japanese, and American cinemas... Clearly Koboayashi took quite a bit of influence from the Germans and Murnau (huge use of the subjective creeping drifting camera... the Black Hair ep of Kwaidan is a tour de force in this, not to mention an almost Brechtian sense of self reflexivity and stage lighting conventions.. pools of light coming and going mid-scene as though one were watching B'way in its better days of course!) in particular (Kurosawa exhibits this in certain films as well, the stately Throne Of Blood is very Langian to me.. Nibelungen is written all over those forest sequences for instance), whereas in terms of guys like Yamanaka, Ozu and Mizo it's more of a mixed bag. I see-- variously-- Capra, Sternberg, Lubitsch; inescapable nuances of Chaplin of course but only just.

[Michael Kerpan]

I have no problem with Asian directors borrowing (and then "naturalizing") Western influences. All my favorite people did this.

My problems with Kwaidan is that it feels like it was _made_ for Westerners. There is all sorts of redundancy and over-exposition that probably would not have been needed had this been made priomarily for domestic consumption.

Sternberg (perhaps most of all) and Murnau and Ford (and Lubitsch and Lloyd and Chaplin) were all immensely influential on Ozu and his contemporaries of the 20s/30s. (As were the works of many others). Things like Docks of New York and Laust Laugh were essentially dissected frame by frame.

I love the way Murnau sees -- and just plain don't like the way Kobayashi does -- influence or no influence. Purely subjective, I guess.

Griffith had a big influence on the first (?) complete surviving feature film (souls on the Road) -- but by the early 30s the Japanese had moved on to more contemporary stuff.

Another very important early influence was the movies made by Bluebird Films. I believe none of these actually still survive.

[HerrSchreck]

Souls on the Road-- this is Minoru Murata's Rojo no Reikon (1921) you're talking about? Is this avaialble in subbed form, even via back channels, or did you see it in the cinema? I know it played a bit around in 2005 w an english subbed native Tokyo print. Though supposedly a snooze I'd still be interested to see it.

Two part question:
What is the earliest surviving Ozu film? And what is the earliest survivig Ozu film that is available in some home video form? I share your huge admiration for the work of this man.. the combination of my love for the silent cinema *and* Ozu makes him a great pleasure to go on exploring from this era. Believe it or not I still havent acquired Silent Ozu on E![/url]

[Michael Kerpan]

Souls on the Road was released on (unsubbed) video in Japan (now o/p) and was shown (subbed) as part of the Shochiku retrospective. I actually found this quite good -- not a snooze at all. And one of the characters does a remarkable Mary Pickford imitation. I saw a copy of the video.

The earliest surviving Ozu film is his Days of Youth -- almost surely the best Harold Lloyd film not actually made by Lloyd. Ozu regular (from the early days) Tatsuo Saito looks (and moves) uncannily Lloyd-like. One of Ozu's rare winter films (shot at the ski resort owned by relatives of his cameraman) -- and featuring what might well be the first use of a ski-cam. (We also get our first glimpse ever of Chishu Ryu in this).

Panorama has released this on DVD (with subbed intertitles). I believe this release is considered to be quite acceptable. (I just have the unsubbed Shochiku set).

You need to see Passing Fancy -- and then tear my Sesnses of Cinema article to shreds afterwards....

[ltfontaine]

Ozu regular (from the early days) Tatsuo Saito looks (and moves) uncannily Lloyd-like . . . Panorama has released this on DVD (with subbed intertitles). I believe this release is considered to be quite acceptable. (I just have the unsubbed Shochiku set).

One of the unexpected pleasures of Japanese Girls at the Harbor, in the new Shimizu set, is seeing Saito, playing a beret-wearing bohemian painter, in a film by someone other than Ozu. If Ryu is indispensible to the later Ozu films, Saito is nearly as axiomatic to the silents.

And yes, the Panorama release of Days of Youth is entirely acceptible.

[sidehacker]

One of the unexpected pleasures of Japanese Girls at the Harbor, in the new Shimizu set, is seeing Saito, playing a beret-wearing bohemian painter, in a film by someone other than Ozu. If Ryu is indispensible to the later Ozu films, Saito is nearly as axiomatic to the silents.

Not to mention one of the funniest character introductions in Kanzashi. Saito certainly is a key player in Ozu's earliest productions but the "star" (for me, at least) has got to be Tomio Aoki for singly-handedly creating the whole archetype of mischievous children in Asian films. Just look at Liew Seng Tat's sadly unrecognized Flower in the Pocket (now on dvd, by the way) to see just how influential of an actor he is.

[Michael Kerpan]

My kids found Saito's kick-off of Kanzashi hysterical. (It doesn't hurt that he looks rather like one of their uncles).

Saito is a treat in early Ozu -- though one of his best performances is in the comparatively late "What Did the Lady Forget?". (I think his very last Ozu appearance is as an oncologist in Munekata Sisters).

However, the most impressive Saito performance of all comes (IMHO) not in Ozu or Shimizu -- but in Naruse's "Every Night Dreams".

Saito shared the honors as silent lead Ozu actor with not only Takeshi Sakamoto (both co-starring in the early Tokkan kozo -- with little Tomio Aoki in the lead, for all practical purposes) but also Tokihiko Okada (who had 5 leading roles -- though 2 are lost). All three of these men were exceptional -- in totally distinct ways from each other.

[HerrSchreck]

Much obliged, gents. MK your senses of cinema article doesn't read like that much of a Kerpanning. So many films I've fallen in love with would have gotten a ho hum review from me on ititial pass-thru, for a variety of reasons.

It's actually a quite fascinating phenomenon, watching to see what films wind up as what has been tagged around here as "Addictive Nightlights". As loads of films come into my collection, and views of each go by, many times the least expected film will become a favorite, seeing me spin the thing endlessly because I've suddenly and without any warning whatsoever "made very good friends" with an aspect or character of the film's plot or cast that now becomes an active part of my life, as a friend would. And you need to visit. And the same way you will bond with someone and become ironbound friends with a soul you at first felt you didnt have much use for, the same thing can happen with a film-- suddenly you need it, want it, find yourself compelled to make a visit.

So I could see myself writing three slightly-to-radically (depending on the film) disparate reviews of film depending on the viewing stage: 1) first view, where formal issues come into play/critique, much more so than 2) periodic-replay-to-possible-total infatuation stage (depending on what level of affection is reached), where flaws can become flipped on their head and turn into strong points, characters which first read as blank or immutable become filled with life and personality or mystery, with huge quantities of empathy donated by the viewer... this is the honeymoon stage where the user has yet to experience his CNS and receptors grown worn down, a disposition which lies in wait in the stage 3) the film has been sucked dry of all possible surprise, mystery, and newishness. You cannot go back to what you once had, although you can lay off the pipe for a bit and simulate some newishness via the surprise later on with a return bang after several months clean just chipping around, 12 step programs and all that.. but it is still tough not to anticipate that which is already known, and have the poetics feed the sense of the sublime and infinitude in the same way as occurred in 1 and 2-stage. The spins go down to the semi-annual, and nothing near the daily/multi-daily, weekly or even monthly spins of 1 &2. Nothing can completely suck dry a monstrous masterpiece like Tokyo Story, Late Spring or Early Summer, for example, and when dealing with material on this obviously fantastic level I try, for the sake of my ongoing enjoyment of the film, to control the number of spins upon acquisition. I demanded this of myself with so much of Murnau and Dreyer, so as not to "spoil" them. Some rare films can withstand any hot streak of rampant viewing yet bounce inevitably back like an inflatable 4 foot high Clown Bop Bag (Epsteins Usher is one for me, obviously Murnau, some Sternberg, Ozu, and much 30's - 50's sci/horror/exploitation films, they can take a viewing licking and they keep on ticking with country home freshness).

But anyhow, bringing this all back home, there is nothing unusual with noting displeasure over certain elements of a film upon your first viewing, only to find yourself in disagreement with yourself later on as the film becomes more familiar, and the formal aspects tend to fade in importance versus the humanity/general overall experience the film presents.

Obviously this is one of the minefields of reviewing, and its one of the reasons I've held firm versus the temptation to formally take a pop at being a critic or even open up a blog on the subject of any art form. I'm of many minds at different times vis a vis certain films. Sometimes (probably even most of the time) my opinion remains the same throughout... but some fillms are ever fluxing, as far as my opinion is concerned.

[Michael Kerpan]

I have actually had only one major (upward) re-assessment of a film maker -- Hou Hsiao Hsien. Otherwise, first impressions tend to stick -- though some people and films get comparatively slow incremental increases in appreciation over time.

A few people, like Kinoshita (and Kinugasa) have started off in mildly positive range -- and then started sinking, progressively faster and faster -- until I more or less give up on them.

I have so many things to watch that even films I'd like to watch a few times a year may go a long time between re-watchings. Probably the major Ozu films are the ones most likely to be seen in steady rotation by me.

I haven't had any beloved Asian films wear out on me yet. (Crossing fingers).

It took about 14 hours of watching just to take shot by shot notes on Passing Fancy (ditto for Apart From You) -- and that was before I actually tried to write anything. I don't see how anyone (who is not independently wealthy) can find time to write detailed film analyses.

[foggy eyes]

It took about 14 hours of watching just to take shot by shot notes on Passing Fancy (ditto for Apart From You) -- and that was before I actually tried to write anything. I don't see how anyone (who is not independently wealthy) can find time to write detailed film analyses.

Well, students and full-time academics, perhaps! I know what you mean though - I'm writing on Jeanne Dielman at the moment and have notes, calculations of shot lengths and itemised lists coming out of my ears. It's amazing how resilient certain films are to the extent of viewing necessary for formal analysis - after hours of re-watching JD, I feel like I haven't even begun to scratch the surface or spoil the effect of the film. If anything, Akerman's achievement has begun to feel even more extraordinary.

[Michael Kerpan]

Although time consuming in the extreme, I would have to say I didn't really come close to understanding or appreciating either Passing Fancy or Apart From You prior to my intensive shot-by-shot watching/re-watching.

If only I had time to tackle lots more of my favorite films with similar thoroughness. (Maybe after I retire). ;~}

Akerman's film is MUCH longer than the Ozu and Naruse films I tackled -- combined. You definitely have your work cut out for you.

[ltfontaine]

Saito is a treat in early Ozu -- though one of his best performances is in the comparatively late "What Did the Lady Forget?".

Yes, and what a wonderful film it is! If Dragnet Girl can hold its own among American gangster films (it can), then What Did the Lady Forget? is an equally satisfying Japanese twist on the Thirties comedy. While atypical in many respects, these might be the most easily accessible of Ozu’s films for Western viewers discomfited by the less familiar rhythms of the director’s dramas.

(I think his very last Ozu appearance is as an oncologist in Munekata Sisters).

Aparently his final career appearance is in Richard Brooks' Lord Jim (!), at least according to IMDB.

[Michael Kerpan]

Some Tatsuo Saito trivia -- during WW2, he was (perhaps) the leading portrayer (in movies) of Allied spies and infiltrators. I haven't seen any of these films -- and suspect that I may not ever get a chance to see any of them.

"What Did the Lady Forget?" is remarkably Lubitsch-like -- albeit closer in tone to the sort of (comparatively) gentler works that Lubitsch himself was yet to make (like Shop Around the Corner).

[aox]

I didn't want to go through all of the pages and every post b/c I didn't want to accidentally read any spoilers, but I have yet to see an Ozu film and was wondering where to begin.

And, even though some obscure film of his might be your favorite, please try to be objective in your recommendations since I am a newbie (hate that word). Perhaps what is canonical? What are his top 5 films in the overall consensus?

Thanks for all of your help.

[Sanjuro]

It's a tricky question as some people find they appreciate Ozu more when they've seen quite a bit of his work and understand his style a bit more. Watch everything over one week, then come back to them one at a time over the next 10 years or so. That seems to work.

Alternatively you could just go for Late Spring, Tokyo Story and Floating Weeds. That should give you some idea. Although bear in mind that early silent Ozu is quite different.

If you like Floating Weeds, check out the original silent version which comes with the Criterion, then choose an Eclipse box-set if you want to explore further. I Was Born, But... is a nice enough introduction to Ozu's lighter side.

I'm sure others here will have different opinions though.

[Saturnome]

I went the same way, I started with Tokyo Story because it's the most well known and had no idea about his other work; then Floating Weeds (didn't had time to see the silent, my first silent Ozu was "I was born, but..."). It worked at first sight for me.