criterionforum.org

I only have "Dragnet Girl", but on this the subs are fine and they also used the Japanese names, thankfully. Be aware though that there is no music provided whatsoever,which might be irritating to some. Great film, btw.

The Panorama releases of early Ozu films are quite acceptable (given their price). Because these are short films, they don't have the compression problems that some of Panorama's releases of the later, longer films (viz. Early spring) do. All the subtitliong of intertitles in silent films I've seen has seemed okay.

Thanks for the very useful information about those Panorama releases. Much obliged.

Tommaso wrote:I only have "Dragnet Girl", but on this the subs are fine and they also used the Japanese names, thankfully. Be aware though that there is no music provided whatsoever,which might be irritating to some. Great film, btw.

I'm not sure if this is mentioned elsewhere, but the Panorama "An Inn in Tokyo" does have an accompanying score. It's a great film and well worth picking up.

Tokyo Inn was originally released with the score contained on the DVD (but had no dialogue or sound effects). I am not certain how much Ozu had to do with the music for this -- as it is not characteristic of the sort of music he used in his later films (including Only Son and What Did the Lady Forget).

I certainly didn't know about that score. Have only seen a clip from Tokyo Inn and it looked terrific. Thanks once again for the information.

I'm in ecstacy, having just watched Equinox Flower for the first time in my life. Having seen hints of Ozu's silly humor in peeks and snatches, his quirky side is in full bloom in this wonderful, emotionally resonant, full-on masterpiece. Cinematographically, performancewise, everythingwise, this is one of the most "complete" film worlds I've ever witnessed take shape. A perfectly shaped universe in two hours.

I love that this came right after Tokyo Twilight.

HerrSchreck wrote:I'm in ecstacy, having just watched Equinox Flower for the first time in my life. Having seen hints of Ozu's silly humor in peeks and snatches, his quirky side is in full bloom in this wonderful, emotionally resonant, full-on masterpiece. Cinematographically, performancewise, everythingwise, this is one of the most "complete" film worlds I've ever witnessed take shape. A perfectly shaped universe in two hours.

I love that this came right after Tokyo Twilight.

It is no accident that this came after Tokyo Twilight, possibly Ozu's least (contemporaneously) successful films (and the only one whose public rejection upset Ozu). In a way, Equinox Flower is a revisitation of the main theme of TT (Father is NOT right), but Ozu gets his point across with more humor and understanding. The anger underlying TT has been sublimated.

And Tanaka as the mother turns in one of her most wonderful performances.

Also telling-- perhaps-- is the fact that the same piece of music that opens TT plays in the background at points in EF (at the dumpling house when the father takes Ryu's daughter out for a meal).

I'd love to hear some thoughts here on Late Autumn, which was one of the funniest films I'd ever seen-- not roaring laughter that comes after bit-setups, but continuous ongoing feelgood chuckling. Some english and US comedies are measured by the number of ripsnorting thighsmashing laugh-jags they prompt... whereas Late Autumn was a different experience... just ongoing low volume smiles and giggles of pure pleasure. I don't think I ever watched a film with a permenant smile on my face. The scene on the rooftop with Ayako & Yukiko pouting over their new-bride-friend who didn't wave from the train, the quirks and the vocal inflections (the punch at the train), was priceless.

I did express my annoyance at the old guys in Late Autumn. In retrospect it's probably because they remind me of my own dad. Those bored old meddlers who have nothing better to do than to poke their nose in your business and annoy the hell out of you.

What's so striking to me about Late Autumn is the picture's unshakable confidence. Even by Ozu's standards the film just feels effortless. It IS hilarious, but nothing for a second feels played for laughs. Ozu's trademark wit is so pointed here, it really feels like he's not even trying to be funny, like it just turned out this way. Definitely the work of an auteur at the top of his game.
There are so many killer moments, but just a few that spring to mind:

"You're late, it started 10 min ago. Then I'm early."
"Exquisite. Yeah... the daughter's nice too."
"I mean... my father's an animal, but so what?"
"You have something even better. Your dreams."

I could go on, but I'm starting to drool on my keyboard. Frickin briiliant.

Late Autumn has some of Ozu's funniest scenes -- especially the ones involving Mariko Okada and the group of codgers. Overall, however, I find Autumn Afternoon the funniest of Ozu's post-30s films (with Lady and the Beard probably being his most purely funny surviving film).

So what's the deal with the widower who, every time he gets excited re marrying Hara-- amid discussions of his "itch"-- has to keep excusing himself to go to the men's room? It's almost hinting that he has to go eh take care of business after getting himself all worked up.

The idea probably stemmed from the "I have to go to the bathroom" gag viz getting away from Yukiko's nutty mother's talking jags in Equinox Flower. But it's a little more uh sticky in it's implications.

HerrSchreck wrote:So what's the deal with the widower who, every time he gets excited re marrying Hara-- amid discussions of his "itch"-- has to keep excusing himself to go to the men's room? It's almost hinting that he has to go eh take care of business after getting himself all worked up..

Surely no director of "transcendental" films would _ever_ refer to such a possibility.

How Ozu can fit such remarkably crude humor into films that appear so "refined" overall is really quite amazing.

Would this be a good time to bring up the fart jokes in Good Morning?

Jack Phillips wrote:Would this be a good time to bring up the fart jokes in Good Morning?

I consider myself lucky that Good Morning was the Ozu film I saw first.

And then Early Summer -- with its bread kicking brats and the gaga great-uncle who ate paper-covered candies without taking the wrappers off first.

Michael Kerpan wrote: Overall, however, I find Autumn Afternoon the funniest of Ozu's post-30s films (with Lady and the Beard probably being his most purely funny surviving film).

It's either Autumn Afternoon or End of Summer for me in the humour department, despite the downbeat endings of both films.

But the thing about the domestic humour is that there's always a certain amount of tension behind the humour. When the young married couple in Autumn Afternoon bicker at each other, it's funny but you know in the back of your mind it could lead to problems down the road if they don't change. Really, though, Ozu is pretty much all about domestic tension--if you've lived in households similar to those in Ozu's films, you'll know how accurately he hits all the right notes. I suppose that's why all those "old friends drinking together" scenes are there--they let the characters have their un-politically correct moments without worrying about it having any consequences.

jojo wrote:It's either Autumn Afternoon or End of Summer for me in the humour department, despite the downbeat endings of both films.

End of Summer (Autumn of the Kohayagawa Family) certainly has some of Ozu's most outrageous humor -- starting off with Hisaya Morishige's blowtorch Zippo and his utterly clueless approach to wooing Setsuko Hara. And then there are various hide and seek games. And the gold-digging "daughter" and all her Western boyfriends.

Whether the ending is downbeat or upbeat depends almost wholly on what characters you identify with most. I consider the ending decidedly (if a bit disconcertingly) upbeat.

Really, though, Ozu is pretty much all about domestic tension--if you've lived in households similar to those in Ozu's films, you'll know how accurately he hits all the right notes.

My first reaction to Ozu was basically "wow, I know all these people". ;~}

I was saying to my girlfriend after she was charmed into golden goo via watching Equinox Flower,

"When you watch an Ozu film you don't just Pass The Time--" a la most melodrama-- "you gain a family."

HerrSchreck wrote:I was saying to my girlfriend after she was charmed into golden goo via watching Equinox Flower,

"When you watch an Ozu film you don't just Pass The Time--" a la most melodrama-- "you gain a family."

Yeah, and usually ones with tons of communication problems.

End of Summer (Autumn of the Kohayagawa Family) certainly has some of Ozu's most outrageous humor -- starting off with Hisaya Morishige's blowtorch Zippo and his utterly clueless approach to wooing Setsuko Hara. And then there are various hide and seek games. And the gold-digging "daughter" and all her Western boyfriends.

Whether the ending is downbeat or upbeat depends almost wholly on what characters you identify with most. I consider the ending decidedly (if a bit disconcertingly) upbeat.

Ha, I knew you couldn't resist putting in the "real" title.

I'd personally interpret the ending as somewhat ambivalent, although I would guess that most viewers would consider it downbeat. It did get the whole Kohayagawa family together and talking more than usual, though, so I guess that's certainly a plus.

The "wrong" titles to Ozu's films drive me a bit crazy. ;~{

From the perspective of the younger women of the family, the ending of Autumn of the Kohayagawa Family is almost entirely positive (despite being tinged with some sadness). They will be free to make their own decisions, free of any sort of overbearing pressure. The fate of others may be a bit more ambivalent -- but the husband of the oldest daughter seems to feel that working for a reliable corporate boss might offer a more promising (and less stressful) future.

continued -- from another forum

knives wrote:

Michael Kerpan wrote:

knives wrote: Of the four Ozu's I've seen three of them felt like they could shave ten minutes off and be a better film. Not to say that would actually make them better films.

I can't think of any Ozu film that I wish was shorter -- not even Munekata Sisters. I would say pretty much every frame is warranted.

Early Spring? That's the only one I could actually say a specific thing was just filler. He also, from what I've seen, suffers from too many climaxes. That said he is one of my favorite directors from just the late set.

I think Early Spring is a bit long. But I don't think much could (if anything) be shaved off.

I think Ozu _avoids_ most climaxes that others would include. I can't think of any major late film that has "too many climaxes".

The single Ozu I felt could have used some tightening is Early Spring-- I think I'd have to agree with Knives on this one. Definitely my least favorite of all the post LATE SPRING films.

For me an example of too many endings is the near perfect The End of Summer. All those scenes as they are played out are needed, but that doesn't prevent the feeling that it has a climax, and then another climax, follow by a few more climaxes. I wouldn't take anything out, but it does leave that feeling, and I suppose that is what I'm getting at.