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I usually recommend Early Summer and Floating Weeds as "first Ozu films".

I started with Late Spring and went chronologically with the Criterion titles. There was a nice build to Tokyo Story, and then having that touchstone in place, I was able to fully appreciate his other films.

My first was Good Morning, I loved it and quickly moved on to the rest of the available films, but really I think there's a good five or six Ozus you could safely start with and get some sense of his work. Tokyo Story, Late Spring, Early Summer, and my personal favorite Equinox Flower. That last one and Good Morning are probably the most accessible to appreciate for a newcomer to Ozu's style, since they leaven his even pacing and static setups with more humor than usual (not that all his films don't have at least traces of wit).

thanks for all of the help/suggestions.

I started with Good Morning too -- albeit the old (fairly decent) video and not the worse quality DVD.

Michael Kerpan wrote:I started with Good Morning too -- albeit the old (fairly decent) video and not the worse quality DVD.

Good point. That's why I'd heartily recommend the Tartan box set with that film. It has much better transfers of Good Morning and Equinox Flower than Criterion has put out, plus it has Tokyo Twilight, which is at least equal to the Criterion/Eclipse, maybe even slightly better as well. That box would make a good starting point for Ozu all on its own, with the caveat that Tokyo Twilight is a somewhat atypical Ozu film.

sevenarts wrote:Good point. That's why I'd heartily recommend the Tartan box set with that film. It has much better transfers of Good Morning and Equinox Flower than Criterion has put out, plus it has Tokyo Twilight, which is at least equal to the Criterion/Eclipse, maybe even slightly better as well. That box would make a good starting point for Ozu all on its own, with the caveat that Tokyo Twilight is a somewhat atypical Ozu film.

The color is definitely better in the UK Equinox Flower (though it is missing subs to some song lyrics, as I recall). There is no competition in the case of Good Morning. Haven't seen the Tartan Tokyo Twilight.

I also would recommend (highly) the Tartan Green Tea/Tenement Gentleman to all.

Tartan is miles ahead on GOOD MORNING qualitywise, but the missing subs on the song in EQUINOX FLOWER, coming as they do at a pivotal moment in the film, is really annoying and, for me, spoils the flow of the film... TOKYO TWILIGHT appears to come from a darkish source in both Criterion and Tartan editions, although the Tartan is maybe a tad brighter and has slightly sharper contrast...

Yea, the lack of subs on that song at the end is disappointing, but is made up for by the fairly large color discrepancy between the Tartan and Eclipse discs.

Michael Kerpan wrote:I also would recommend (highly) the Tartan Green Tea/Tenement Gentleman to all.

I thought the problem with that set was that it was not transferred progressively and had some annoying ghosting/combing problems as a result (which they fixed in their later box sets). I'd love to hear I'm wrong because I'm always on the lookout for more Ozu.

Our current DVD player-TV set-up is too primitive to pick up most of the problems that people with better equipment are bothered by. The Tartan Green Tea / Tenemement Gentleman set looks like a good subtitled port of the Japanese DVDs to me -- but I've got rotten vision, so what do I know. ;~}

ellipsis7 wrote:Tartan is miles ahead on GOOD MORNING qualitywise, but the missing subs on the song in EQUINOX FLOWER, coming as they do at a pivotal moment in the film, is really annoying and, for me, spoils the flow of the film... TOKYO TWILIGHT appears to come from a darkish source in both Criterion and Tartan editions, although the Tartan is maybe a tad brighter and has slightly sharper contrast...

One presumably find the text of the missing lyrics in the Tartan Equinox Flower (someone may even have posted them somewhere here once upon a time), but there's no way to fix the color on the Criterion EF (that I know of). ;~{

Michael Kerpan wrote:

ellipsis7 wrote:Tartan is miles ahead on GOOD MORNING qualitywise, but the missing subs on the song in EQUINOX FLOWER, coming as they do at a pivotal moment in the film, is really annoying and, for me, spoils the flow of the film... TOKYO TWILIGHT appears to come from a darkish source in both Criterion and Tartan editions, although the Tartan is maybe a tad brighter and has slightly sharper contrast...

One presumably find the text of the missing lyrics in the Tartan Equinox Flower (someone may even have posted them somewhere here once upon a time), but there's no way to fix the color on the Criterion EF (that I know of). ;~{

Yes, Michael, I know I transcribed the lyrics a while back and posted them on the forum, and indeed kept a copy in the DVD box, but it still bugged me to have to look them out each time... But appreciate your colour point...

ellipsis7 wrote:Yes, Michael, I know I transcribed the lyrics a while back and posted them on the forum....

Gokurosama deshita.

ellipsis7 wrote:...but it still bugged me to have to look them out each time... But appreciate your colour point...

You must not be an opera fan -- otherwise you would be used to this sort of thing. ;~}

Michael Kerpan wrote:I usually recommend Early Summer and Floating Weeds as "first Ozu films".

I started right off with Tokyo Story and just loved it. Seeing as this was considered a high point for Ozu, one might expect I might be disappointed with the lesser known or even outright "lesser" Ozu but nope, I pretty much continued to like what I saw out of Ozu.

I'm not sure there really is a "for beginners" Ozu film. If you like one, you will probably like the others. If you hate one, there's a chance you might have a tough time with the others. With only a few exceptions, many of them are pretty similar in style, pace and content--the only difference is usually in how far he expands his "scope" of vision. (Which, in Ozu terms, means how many family members he chooses to focus on in any given picture)

However, I only say this as one who's comfortable with post-silent Ozu. I've had limited experience with silent Ozu so they could be completely different for all I know.

zedz wrote:Ozu and the Politics of Cinema - David Bordwell (Princeton University Press, 1988)

The correct title is Ozu and the Poetics of Cinema.

Rufus T. Firefly wrote:

zedz wrote:Ozu and the Politics of Cinema - David Bordwell (Princeton University Press, 1988)

The correct title is Ozu and the Poetics of Cinema.

And the introductory guide should probably add the link to this book's (enhanced) online version at the University of Michigan's Center for Japanese Studies.

I watched GOOD MORNING and TOKYO STORY. I really liked them and I thought his shots/cinematography were great. Especially when he shows landscape shots of the main characters walking on hills or fields.

I shall begin renting more of his films.

and boy, this guy sure loves his smokestacks.
Is this to symbolize an acceptance of modernity and the growth of society around it (interesting when you see the TV, a modern appliance as a mcguffin of sorts in GOOD MORNING), or is it meant to be a more conservative despairing view that modernity is taking or at least changing a culture negatively?

aox wrote:and boy, this guy sure loves his smokestacks.
Is this to symbolize an acceptance of modernity and the growth of society around it (interesting when you see the TV, a modern appliance as a mcguffin of sorts in GOOD MORNING), or is it meant to be a more conservative despairing view that modernity is taking or at least changing a culture negatively?

I think Ozu recognized both the problems (and benefits) of tradition and the benefits (and problems) of modernity. He (like most Shochiku directors) had begun dealing with the intersection of tradition and modernity in the 1920s. Shochiku was the studio most associated with promoting the virtues of (judicious) modernization (and the studio most influenced by Hollywood movies).

Other Shochiku directors also were interested in smokestacks and the like. Here's something from Shimizu back in 1933.

aox wrote:Is this to symbolize an acceptance of modernity and the growth of society around it (interesting when you see the TV, a modern appliance as a mcguffin of sorts in GOOD MORNING), or is it meant to be a more conservative despairing view that modernity is taking or at least changing a culture negatively?

[flippant]Yes.[/flippant]

Ozu acknowledges and interrogates the impact of technological and social change in his films, but I don't think he judges it. Symbolism and editorializing seem way too assertive as paradigms for the way he operates. It's something of a critical cliche when it comes to Ozu, but the concept of mono no aware is relevant here.

zedz wrote:It's something of a critical cliche when it comes to Ozu, but the concept of mono no aware is relevant here.

I suspect this concept is much more misleading when it comes to Ozu than illuminating.

I caught Record of a Tenement Gentleman via the old New Yorker VHS and I hope this gets a release in the next eclipse because the film was excellent, very funny, more along the lines of the silent set than the later sound films. plus the transfer on the vhs was very murky and unsatisfactory, a transfer as good as the weakest of either the Late Ozu or Silent Ozu sets would be wonderful.

I am wondering if the monologue at the end was inspired by a desire from Ozu to shake the Japanese people into being more open to adoption outside the family (if they objected to it in general, I'm not sure) or if it was motivated by allied censorship boards.

And why is Gentleman in the title? The film is about Tane and the boy, not any of the supporting male characters living in in the tenement.

movielocke wrote:I caught Record of a tenement Gentleman via the old New Yorker VHS and I hope this gets a release in the next eclipse because the film was excellent, very funny, more along the lines of the silent set than the later sound films. plus the transfer on the vhs was very murky and unsatisfactory, a transfer as good as the weakest of either the late ozu or silent ozu sets would be wonderful.

This was -- in essence -- the last reunion of Ozu's 1930s ensemble. So, it does seem much more like a 30s film.

The UK DVD is a lot better than the old US video -- but the film's state of preservation is obviously not as good as one might hope.

movielocke wrote:I am wondering if the monologue at the end was inspired by a desire from Ozu to shake the japanese people into being more open to adoption outside the family (if they objected to it in general, I'm not sure) or if it was motivated by allied censorship boards.

If Ozu had not wanted to put the ending speech in, he would not have done it. The social ill he described (at only a slightly later point in time than the end of Takhata's Grave of the Fireflies) was a serious one. The Japanese people apparently did not cover themselves with glory in terms of caring for war orphans (and war-injured children and adults) -- and they resented Ozu calling this fact to their attention. Audiences did not beat down the doors to come see this film (ot the similarly critical Hen in the Wind -- which came next).

movielocke wrote:and why is Gentleman in the title? the film is about Tane and the boy, not any of the supporting male characters living in in the tenement.

Simple answer -- it's not. Donald Richie has acknowledged mis-translating the title. He read it as "Nagaya shinshi roku" -- which more or less translates to the prevailing title. But the title was actually "Nagaya Shinshiroku" -- a Who's Who of the Tenement (Block)". Unfortunately, even when Donald Richie publicly corrects errors he made in his younger days, the public (and movie press) never seems to notice his self-corrections (which obviously is not HIS fault)..

Although the primary focus is on Tane and the boy -- the depiction of life on the tenement block is also important to the film (as is their varying responses to the problem of the abandoned child).

Michael Kerpan wrote:This was -- in essence -- the last reunion of Ozu's 1930s ensemble. So, it does seem much more like a 30s film.

thanks, I thought it felt quite similar in style to Passing fancy and What did the Lady forget? perhaps that film, Record of a Tenement Gentleman, and Hen in the Wind (haven't seen it) could be joined with There Was a Father (one of my absolute favorite Ozu films, and one I want badly on dvd) for the next eclipse release.

If Ozu had not wanted to put the ending speech in, he would not have done it. The social ill he described (at only a slightly later point in time than the end of Takhata's Grave of the Fireflies) was a serious one. The Japanese people apparently did not cover themselves with glory in terms of caring for war orphans (and war-injured children and adults) -- and they resented Ozu calling this fact to their attention. Audiences did not beat down the doors to come see this film (ot the similarly critical Hen in the Wind -- which came next).

I thought I remembered covering this attitude from my studies of Japan, but I wasn't certain. It certainly felt more like Ozu making a point than a tacked on lecture from an external entity. Was the attitude an ie related or just a general distaste for adoption or civilian victims of the war?

Simple answer -- it's not. Donald Richie has acknowledged mis-translating the title. He read it as "Nagaya shinshi roku" -- which more or less translates to the prevailing title. But the title was actually "Nagaya Shinshiroku" -- a Who's Who of the Tenement (Block)". Unfortunately, even when Donald Richie publicly corrects errors he made in his younger days, the public (and movie press) never seems to notice his self-corrections (which obviously is not HIS fault)..

Although the primary focus is on Tane and the boy -- the depiction of life on the tenement block is also important to the film (as is their varying responses to the problem of the abandoned child).

ahh, that makes more sense now, the title seems somewhat idiomatic. and the better translation doesn't have much of a ring to it so I doubt criterion will change it. What other Ozu film's have incorrect title translations?

Out of curiosity, how would you layout the next two Ozu eclipse sets and criterions? you seem to be the reigning expert, michael.

movielocke wrote:I thought I remembered covering this attitude from my studies of Japan, but I wasn't certain. It certainly felt more like Ozu making a point than a tacked on lecture from an external entity. Was the attitude an ie related or just a general distaste for adoption or civilian victims of the war?

Back when I first read John Dower's Embracing Defeat (a must-read, I think), I could have answered this more easily. My recollection is that it was a combination of factors that led to a high degree of individualism and selfishness, beginning at the point when it became clear in 1945 that Japan would soon lose WW2 and lasting through much of the rest of the decade.

What other Ozu film's have incorrect title translations?

Disparities between Japanese and American titles

Bakushu -- actually "barley harvest time", barley being the first grain grain crop of the agricultural year (thus, the harvest would be in early summer)

Ukigusa -- not wrong -- but more specifically this is Duckweed -- not just any old weeds thrown into the water.

Akibiyori means something like Lovely Fall Weather or A Fine Autumn Day -- Late Autumn is pretty bland

Kohayagawa-ke no aki means Autumn for the Kohayagawa Family -- not sure why this was changed to End of Summer

Sanma no aji -- An Autumn Afternoon would seem to have been a more appropriate title for Akibiyori than this -- which means The Taste of Saury (or mackerel pike). the Japanese title means something -- referring to a seasonal delicacy that is only really available (in peak form) for a few weks a year -- it also evokes the old teacher's belated discovery of a new treat -- the taste of sea eel -- during the course of the film. The American title has no point -- it just makes this sound like a "generic Ozu film".

Out of curiosity, how would you layout the next two Ozu eclipse sets and criterions? you seem to be the reigning expert, michael. :)

I can't really make Criterion's mind up for them. They know what sells and what doesn't.

I do think that Walk Cheerfully, Dragnet Girl, Tokyo Inn, Only Son, what did the Lady forget and Nagaya shinshiroku are all necessary releases eventually. Of course, this stil leaves out quite a few other films I also love. (But at least I have these all in the form of the Shochiku DVDs).

movielocke wrote:There Was a Father (one of my absolute favorite Ozu films, and one I want badly on dvd)

YesAsia has it in stock. If Criterion ever releases this title, the quality (esp. subtitles) will be much higher, but who knows when that will be (cue inevitable Ozu/Criterion joke)? This is not terribly expensive and will tide you over until then--assuming you are multiregion, that is.