Yasujiro Ozu

[Steven H]

The next time I get a chance to see Tokyo Twilight I'll try and keep the music in mind (I admit that I was very absorbed into the story the two times I've seen it and have little to say of it's form).

As for Yoriko's similarity to Aya, there is a confrontation in Late Spring, but it's extremely tame in comparison. Yoriko is a fairly singular character in Ozu's films and I think their reaction reflects this (though I could never be sure) which also seems to be a knowing nod from the director himself. It wouldn't be a new thing if he used self conscious dialogue (isn't there a line from an earlier film where there's talk of going to an "Ozu film"?) Of course trying to guess the intentions of such a enigmatic artist is probably a much more complicated task than my post made it out to be. I'm probably just reading something into this that isn't there (I have a problem with that).

Unfortunately Equinox Flower is the only film from the 50s and 60s I haven't seen. I understand that he didn't abandon his pre-57 style completely, but it is odd that he chose to make color films after Tokyo Twilight.

[artfilmfan]

I'd like to do a real comparison of Late Spring with An Autumn Afternoon, but I have seen the latter only once, in the midst of a whole Ozu series nearly a year ago. I don't entirely trust my memories of it. Ozu's last film has its share of poignancy and sadness, I think, but nothing like Late Spring, for me anyway.

I, too, think that "Late Spring" is overall sadder than "An Autumn Afternoon". In "Late Spring" we are shown the separation's devastating effects on both the daughter and the father. In "An Autumn Afternoon", as MEK pointed out, how the daughter feels is not made known to us. I thought it was heartbreaking for the daughter in "An Autumn Afternoon" to be asked by her father to meet the man chosen for her while her tears, caused by the news that the man she wants to marry is no longer available, hadn't even dried yet.

[Michael Kerpan]

I thought it was heartbreaking for the daughter in "An Autumn Afternoon" to be asked by her father to meet the man chosen for her while her tears, caused by the news that the man she wants to marry is no longer available, hadn't even dried yet.

Another sign that Ryu's character (while well-meaning) is utterly clueless about his daughter (and perhaps women in general). ;~}

[Gregory]

Ozu definitely WANTED the disjunction between the music and the narration in "Tokyo Twilight". I suspect that he had more in mind here than simply giving his characters space.

David Bordwell says that Ozu did this to dedramatize the material. I don't always agree with Bordwell, of course, but it seemed the only plausible explanation. Could you elaborate on what you had in mind?

[Michael Kerpan]

The music Ozu uses is not really neutral -- but affirmatively jaunty. I f he simply wanted to "de-dramatize", he could easily have picked something less jarring. The use of blatantly inapt music at the most emotionally wrenching part of "Tokyo Twilight" seems to actually reinforce the bleakness of this very dark film.

[FilmFanSea]

The Ozu series just finished its third week (16 of the 27 films have now been screened). Combined with unseasonably dry, sunny, Spring-like weather, I could hardly be happier (except for a Flu bug that knocked me down for 4 days). Films I saw this week:

That Night's Wife (1930)
Ozu meets Fritz Lang in this melodramatic potboiler about a father of a sick child who robs a business to pay for his daughter's medical care. Great expressionistic camerawork (especially a very effective dissolve through a door). The film was excellent, but the print was the worst so far in the series. The music was composed by Robin Holcomb, and scored for an eclectic trio of musicians: piano (Holcomb), trombone/xylophone/organ, and violin. It was superb! (one of the two best scores I've heard)

Brothers and Sisters of the Toda Family (1941)
A bourgeois family is thrown into turmoil when the patriarch dies, revealing a large concealed debt. This forces the sale of the mansion and possessions, and the widow, her youngest daughter, and her "black sheep" son are forced to move. Mother & daughter are shuttled between the other siblings who are indignant at the inconvenience. The youngest son pursues work in China, and is outraged upon his return at the selfishness of his siblings. I felt lukewarm towards this melodrama (in spite of the fact that it was Ozu's first box office hit). The print was poor--similar to the state of There Was a Father or What Did the Lady Forget?.

Equinox Flower (1958)
My favorite film of the third week. It's sort of an Ozu microcosm: charming, funny, bittersweet; themes of arranged marriage vs love, the difference in attitudes between parents and children, hypocrisy, the use of intermediaries; weddings, a school reunion, a bar, a red tea kettle, trains, laundry on the line, clocks, offices, and a blustering father. All in glorious color. The print was one of the best in the series (on par with An Autumn Afternoon. Highly recommended.

Also this week, on DVD I revisited:

A Story of Floating Weeds (1934)
Now that I've seen eight other Ozu films from before 1948, I'm somewhat less impressed with this one. I have trouble feeling any sympathy for the loutish actor Kihachi, and I'm disturbed that he pays no real price for his behavior (besides the dissolution of his theatrical company, but that was more from an act of god than a consequence of his behavior). The outbursts of violence against the two actresses and the son by Kihachi trouble me, but then when Shinkichi's mother berates him for disrespecting his father (who has just slapped his girlfriend silly), Ozu loses me. And, in the end, Otaka reconciles with him as well. Kihachi gets to have his cake and eat it too, and never gains an ounce.

Ohayo/Good Morning (1959)
I bypassed the "family friendly" theatrical screenings (where actors were to read the subtitles out loud for the young children in the audience), and instead re-watched my Criteron DVD. I had never really understood the fuss about the DVD color choices---until now. After seeing two Ozu color films recently projected, I agree that the Agfa-Shochikucolor process results in skies that are more blue-green than bright blue or pale lavendar, as they are on the CC disc. Likewise, skin tones are too red. And the constantly fluctuating colors of the Criterion are quite distracting. The film, of course, is a comic masterpiece. What a treasure!

I was unable to attend the screening of The Lady and the Beard (1931), and I skipped Floating Weeds (I hope to re-watch the DVD this weekend).

In Week 4, I plan to attend:
An Inn in Tokyo (1935)
Early Spring (1956)
Late Autumn (1960)
A Mother Should Be Loved (1934)

[Michael Kerpan]

The only thing lacking in "That Night's Wife" is story logic, cinematography, setting, mood and acting are all superb. I need to re-watch this -- as I can't recall just how good or bad this looked on the Shochiku DVD.

"Toda Family" was NOT really Ozu's first box office hit. Just a bit of mythology. "Lady and the Beard" was a big popular hit, which made plenty of money for Shochiku. In some ways, this seems to borrow from "Make Way For Tomorrow" (except one aged parent is already deceased when the shuttling starts). For me, the best thing about the film is the fact that the ostensible hero (Shin Saburi) turns out to have feet of clay -- when it comes to doing HIS duty (at the end, he runs away to paly on the beach rather than even greet the young woman his mother and sister want him to meet for possible marriage).

"Equinox Flower" shows how important proper color balance can be for Ozu's films. The old New Yorker video made this look not merely drab, but affirmatifvely ugly. Ideally, this needs to be seen shortly after "Tokyo Twilight". In almost every way, these are the front and back of the same cinematic coin.

I think "Story of Floating Wereds" will come back into your good graces one of these days. KIhachi is SUPPOSED to be a problematic character. He simply is who he is. The virtues here reside in the cinematography and performances -- not in the character of its fictional inhabitants.

One has no way of knowing just how bad the Criterion "Good Morning" was until one sees how these films were actually supposed to look. ;~}

I am afraid that you will find the physical condition "Inn at Tokyo" to be quite time ravaged. Some frames seem to be almost lost to deterioration. One can only thank heaven that this exists at all -- as it is one of Ozu's finest films. (Some find the very ending overly melodramatic -- possibly true -- but I love the film enough to overlook this).

[artfilmfan]

"Toda Family": And the young woman he runs away from is the mischievous niece from "What Did the Lady Forget?", as I recall. I was very impressed by Shin Saburi's performance in this film (and, generally, in other Ozu films that he's in, too). And I was glad to see, again, the actress playing the niece in "Lady".

"Equinox Flower": How can a film be THIS good and at the same time looks SO beautiful? And the performances of just about everyone in this film are superb. And let's not forget about the wonderful music. The more I've seen of this film, the more I want to make it my top Ozu film.

Criterion's "Good Morning": As if messing up with one Ozu film was not enough, Criterion had to mess up with the colors of "Floating Weeds", too. (The skin of the actors looks too red).

"In at Tokyo": we ought to know by now, that when it comes to loving Ozu films, MEK will overlook just about any imperfection
(This film is great though).

Does anyone know if Panorama has fixed (improved) the English subtitles on its "Autumn Afternoon" DVD ? (That is, has a second version been released?)

[Michael Kerpan]

we ought to know by now, that when it comes to loving Ozu films, MEK will overlook just about any imperfection

There are some Ozu films I criticize (and am less than enthralled by) -- "Munekata Sisters" and "A Mother Should Be Loved" are the films I have the most trouble with.

I haven't heard any report indicating that Panorama ever fixed its "Autumn Afternoon" release. Since they seem to have given up on Ozu entirely, I rather doubt they ever did re-visit this problematic DVD.

[backstreetsbackalright]

Last night I was pretty well knocked over by the screenings of An Inn in Tokyo and Early Spring at Seattle's Northwest Film Forum. Two of the best ones I've seen in this series I think. I'm disappointed I bypassed Equinox Flower. I've seen it on video once before, but now that I'm reading such high praise....

I have a general question about Ozu's available filmography. The NWFF has really been beating a drum about their retrospective's inclusion of "all but two" of his existent films. I can't see how this is true. Not shown in this retrospective are Days of Youth, Walk Cheerfully, Hen in the Wind, Munekata Sisters, I Graduated, But...(a fragment, and it was shown in Seattle not too long ago), Where Now Are the Dreams of Youth, Story of Floating Weeds (which, obviously, is readily available on DVD), and A Straightforward Boy (another fragment, and also shown in Seattle recently). Are the NWFF referring to available film prints? or are they just circulating misinformation? Also, I'd love to hear people's thoughts on these films. I think some have shown in BC recently.

[Michael Kerpan]

If you've only seen "Equinox Flower" on video -- you haven't really seen it. ;~{

Maybe NWFF is planning to add the missing items later. By my count, there are 37 surviving Ozu films. One is a condensed version (I Graduated But) and two others are fragmentary (Fighting Friends, Japanese Style -- and A Straightforward Boy). There is also his documentary film on kabuki (Kagamijishi -- which is a kind of Lion Dance).

Days of Youth -- a wonderful appropriation of the Harold Lloyd style, not monumental, but lots of fun -- and its strange seeing an Ozu film made at a ski lodge.

Walk Cheerfully -- Ozu's most visually playful film. And his first pseudo-gangster setting. A delight.

Hen in the Wind -- close to a masterpiece. Ozu's rawest staging and cinematography -- and Kinuyo Tanaka is superb here. Maybe a little over-melodramatic. Big whoop. ;~}

Munekata Sisters -- a rare misfire. Ozu's first film for a studio other than Shochiku (so a wholly unfamiliar technical crew). Moreover, he had little latitude as to either the script or the cast. The studio did not want a film buy Ozu -- but a prestigious "Ozu Fillm" TM. It almost seems like Ozu is making an imitation , rather than the real thing. Not worthless, but quite stillted.

I Graduated, But... What survived was essentially a 8.5 mm condensed home movie version. Not random fragments, but sort of like a very extensive (and plot complete) super trailer. It looks like the film was probably lots of fun.

Where Now Are the Dreams of Youth -- Interesting, but a bit erratic. I've never quyite made my mind up about. Some portions are really quite stunning, by any estimation.

Story of Floating Weeds -- Watch the very fine DVD -- but leave off the sappy musical accompaniment.

A Straightforward Boy -- Read O. Henry's Ransom of Red Chief -- and you should be able to fill in the gaps in Ozu's transplanted adaptation of this.

[artfilmfan]

"A Hen in the Wind": When I saw it almost a year ago, this film came in at #10 on my list of favorite Ozu films (counting "A Story of Floating Weeds/Floating Weeds" as one entry on the list). All top-ten films were rated five-star (out of 5). At the time, I rated it higher than "An Autumn Afternoon" and "An Inn in Tokyo" (which received 4 1/2 stars each). This is a well made film (although it has a scene that is the most "shocking" in all of Ozu films).

[backstreetsbackalright]

So what was your top 10? Also, only 4 1/2 stars for Autumn Afternoon? I love that movie something fierce.

[artfilmfan]

"An Autumn Afternoon": I've seen this film a few more times since I gave it 4 1/2 stars last year. I haven't revisited "A Hen in the Wind" and "An Inn in Tokyo" since then. It would be interesting to revisit "Hen" (with English subtitles, of course) and see if it still stays at #10. Maybe "An Autumn Afternoon" has edged it out.

It was just a coincidence that the number of Ozu films that I rated five-star came out to be ten. They are: Late Spring, Tokyo Story, Equinox Flower, Early Summer, Tokyo Twilight, Floating Weeds/A Story of Floating Weeds, Late Autumn, Early Spring, The Only Son, A Hen in the Wind.

[Michael Kerpan]

Top 10n Ozu, that's a hard one. ;~}

I Was Born But, Inn at Tokyo, Only Son, Record of a Tenement Gentleman, Late Spring, Early Summer, Tokyo Story, Tokyo Twilight, Equinox Flower, Autumn Afternoon

The next 10 aren't far off from these in affection, however.

[FilmFanSea]

Seattle Ozu Retrospective, Week 4 (21 out of 27 films have now been screened):

An Inn in Tokyo (1935)
A widowed, unemployed father of two small boys scours Tokyo looking for a job, with his sons in tow. They meet a destitute widow and her daughter. Shortly after the man finally gets a job, he learn's that the daughter is ill in the hospital. Desperate to raise money to save the girl, he sacrifices everything. A bleak, "neorealist" fable with little humor, the film is quite moving. The spare, traditional score was composed and performed by the eclectic, seven-member Aono Jikken Ensemble (which in teh past has done live scores for Kinugasa's 1926 A Page of Madness and the 1930 Hong Kong film, Swordswoman of Huangjiang). I wasn't able to attend their other festival appearance for The Lady and the Beard (1931).

Early Spring (1956)
A young salaryman, bored with his marriage, has an affair with a woman from his circle of friends. The other friends confront the woman about their suspicions, and her tearful visit to the home of her lover leads the wife to confront her husband. When the truth is uncovered, the wife leaves home, and her husband is transferred to the provinces for his job. Friends intervene to try to save the marriage. Ozu satitrizes the banal lives of the identically-dressed, commuting office workers in this excellent black & white film (the print was in very good condition).

Late Autumn (1960)
In this variation on Late Spring (1949), Setsuko Hara (who played the daughter in the earlier film) plays a widowed mother living with her single, marriageable daughter. Three friends of the late father conspire to marry off the daughter to a suitable young man, while the widower of the three courts the mother. A strikingly beautiful color film (Ozu's limited use of red really "pops" on the screen) with a breezy, comic score. I found it tremendously enjoyable. This print, along with that for Early Spring, were the two best I've seen at the retrospective.

I was unable to attend A Mother Should Be Loved (1934).

In addition, I revisited two films on DVD (both showing at the festival): Early Summer (1951) and The End of Summer. Excellent films both.

I rate movies on a scale of 0 to 5 after I've seen them. Looking back over the twenty Ozu films I've seen in the last month, I'm surprised to see that I've rated 14 of them with a score of 4.5 or 5. Either I've lost all critical perspective where Ozu is concerned, or the man was able to maintain a level of mastery throughout his career which is nearly unprecedented in my experience.

For the final week of the retrospective, I plan to see four films:

Tokyo Chorus (1931)
The Only Son (1936)
The Flavor of Green Tea Over Rice (1952)
Passing Fancy (1933)

I don't belive I'll be able to attend the screening for I Flunked but ... (1930)

I will be very sad to see this retrospective come to an end.

[artfilmfan]

I'm sure that by the end of next week, the number of films that you rate 4.5 or 5 will be at least 15.

And after next week, based on my experience, you probably will not be able to enjoy the films of other directors for a while These Ozu films that you've seen will have spoiled you for a while.

I only have 13 of such films (4.5 or 5) on my list (if "Floating Weeds" and "A Story of Floating Weeds" are counted as two). I've often felt that "Passing Fancy" should have also been on this list. That should add one more to the list.

Judging from his post above, MEK probably has 20 of such films on his list

[Michael Kerpan]

Judging from his post above, MEK probably has 20 of such films on his list

22, at least. ;~}

Luckily, after finishing my Ozu orgy, I got to see lots of Mizoguchi and Naruse -- and some Shimizu. I was surprised to find that the masterpiece average for the Naruse films I saw was almost as high as for Ozu -- and that the average for Mizoguchi and Shimizu were pretty good too.

There are huge numbers of Japanese treasures out there waiting to be discovered -- not even counting the contents of the Abe film horde.

[artfilmfan]

I recently looked up into the sky and noticed that a lot of stars were missing. Now I know what happened to them. They have been awarded to Ozu films by MEK. With all of these stars that the Ozu films have received from MEK, they can form a galaxy of their own

[Michael Kerpan]

You're not taking into account all the stars I've awarded to Naruse... ;~}

[backstreetsbackalright]

I think I'm a little behind the times with this question, but how are the Chinese Ozu DVDs I see on ebay? Are the subtitles accurate? The prints decent? Please advise.

[Michael Kerpan]

The HK (Panorama) OZU DVDs are legitimate (and encoded for Region 3). They use the same source materials as the original Japanese DVDs, but use more compression. The only release that was a fiasco was "Autumn Afternoon". The others will probably serve as adequate and inexpensive placeholders until better versions come out. Some, like "Late Autumn" , are really quite good. Their "Good Morning" is probably better than Criterion's (which has disastrous color balance problems).

If the Chinese DVDs you are talking about are not from Panorama, then they are bootlegs -- and I haven't a clue as to what they are like.

[rlendog]

The HK (Panorama) OZU DVDs are legitimate (and encoded for Region 3).

Although the excellent Early Spring appears not to be region coded even though the package claims it is region 3. Mine plays on my R1 DVD player.

[Michael Kerpan]

Although the excellent Early Spring appears not to be region coded even though the package claims it is region 3. Mine plays on my R1 DVD player.

All the better! I had heard that the DVD is a bit over-compressed (as this is quite a long film). Really a remarkable film though. It's nice to see Chikage Awashima get to handle a role more demanding than comic sidekick (though she is great at that).

[artfilmfan]

Panorama Ozu DVDs: If you just want these Ozu films on DVDs so that you can watch them again (and again) until better releases come out, for their inexpensive price, get "Late Autumn", "Late Spring", "Flavor of Green Tea Over Rice" and "Early Spring" (these are the ones that I have). Just don't pay too much attention to the misspellings and grammatical errors that can be found here and there and you'll probably be fine. The translation of the dialogues is minimal but good enough to follow what's going on.

The picture quality of "Late Autumn" and "Late Spring" is quite good.

"Green Tea" doesn't look as sharp as "Late Spring"; but as I recall, the print that was shown at the Ozu retrospective last year didn't look very sharp, either. I haven't compared it to the Japanese/Shochiku DVD. I watched this Panorama DVD again earlier this week. It's quite acceptable.

The picture quality of "Early Spring" isn't very good at the beginning of the film; but it improves later on in the film (don't ask me why it is like that though).

I think of these four, the one that has the fewest misspellings and grammatical errors is "Green Tea". (Note: Tartan/UK will be releasing it in about 3 months from now. Also, see earlier posts for comments on the Tartan "Late Spring" DVD).