Product Description A widowed professor fakes an impending marriage to spur his adult daughter to get on with her life. .com A masterpiece of postwar Japanese cinema, Yasujiro Ozu's Late Spring serves as an elegant primer for many of the themes that would define Ozu's later career. As with other Ozu classics, this is a calm, meditative drama about the dynamics of family, in this case the inevitable separation of 56-year-old father and widower Shukichi (Chishu Ryu) and his adult daughter Noriko (Setsuko Hara), who is content to care for her father and remain unmarried, despite the urging of friends and relatives to find a suitable husband. There are some viable candidates, and several attempts at matchmaking, but the likeliest match is a man who's already engaged. Noriko simply wishes for things to remain as they are, but when she does eventually marry a handsome chemist who "looks like Gary Cooper," Ozu's drama remains intimately focused on the subtle emotions at play; there's not a scene or sequence that feels out of place, and Late Spring serves a secondary function as a light and lively portrait of post-war Japan, as hints of Western influence (like a Coca-Cola sign in one of the film's most memorable scenes) that signal Japan's transition toward a modern commercial economy. Most of all, however, Late Spring is a carefully observed and quietly heartbreaking story of a parent who yearns to set things right for his daughter who must balance her father's love with her own prospects for a fulfilling future. And while Ozu would go on to examine familial issues in later, equally noteworthy films, Late Spring represents a milestone that would ensure Ozu his rightful place among the greatest of all Japanese directors. --Jeff ShannonOn the DVDs Criterion's release of Late Spring contains a few minor flaws in terms of image quality (such as occasional emulsion scratches), but viewers can rest assured that this DVD was mastered from the finest available materials, and the film looks very good considering the conditions of post-war Japan that were typically harsh on films of that period. The "windowbox" framing format accurately preserves the film's original 1.33:1 aspect ratio. There's a new and improved English subtitle translation, and the audio commentary by Richard Peña (an Ozu expert and program director of New York's Film Society of Lincoln Center) emphasizes the literary traditions that inform Ozu's films, in addition to the director's signature fixed-camera, low-angle style. Disc 2 includes Tokyo-ga, the 1985 feature by German director (and avid Ozu admirer) Wim Wenders. It's a tribute to Ozu's Japan, in which Wenders wanders the city searching for remnants of Tokyo as seen in Ozu's films, including interviews with Late Spring actor Chishu Ryu and Ozu's long-time cameraman Yuharu Atsuta. In keeping with Criterion tradition, a 21-page booklet is also included, containing informative essays by critic Michael Atkinson and renowned Japanese-film historian Donald Richie. --Jeff Shannon
C**S
Powerful and Penetrating
***Review Contains Spoilers***After having seen and loving Tokyo Story, a film which is widely considered to be not only master Japanese filmmaker Yasujiro Ozu’s best film, but also one of the greatest films ever made, I was very eager to see more. Many consider Late Spring another of his absolute best works so it seemed like a logical next choice, and I can happily say that it most definitely met my very high expectations. As with Tokyo Story, this a deep, masterfully-executed and penetrating film examining family life in Japan and the societal and generational pressures which shape and mold it, for better or for worse.As with Tokyo Story, we enter this tale of father, Shukichi Somiya, and daughter, Noriko Somiya, in the middle. 27-year-old Noriko lives together with her father and they appear to be very close. Naturally, questions begin to arise in the mind of the viewer: where is Noriko’s mother and why hasn’t she ever married? Ozu does a fantastic job of coaxing these questions out in the film’s early stages and gives us hints at what has transpired, but never spoon-feeds us by explicitly explaining the backstory. We learn that Noriko had been seriously ill at one point during a period of war and hardship, but has since recovered. Her mother is a mystery for much of the film, but it slowly becomes clear that she has died and that Shukichi is a widower. With this context, the film examines the father-daughter relationship between Noriko and Shukichi and the pressures on them both to have Noriko finally marry and “leave the nest”, so to speak.The strength of this film (and Tokyo Story alike) is how subtly and effectively it tells this story. The screenplay and pacing of the film are phenomenal in slowly and carefully peeling back the layers of the family dynamic. Throughout the film we question the actions and underlying motivations of each of the characters. By the end, the full vision snaps into focus and we are left with a melancholy ending that really sneaks up and packs quite an emotional punch.Let’s begin with Noriko. For the length of the movie she is adamantly against marriage, especially re-marriage. As the details of the backstory filter in, her reasoning begins to become clear. Noriko lost her mother which has obviously affected her very much. As a result, she is very close with her father and wary of leaving him behind. Her mother’s death obviously must have been very hard for her father as well, and she references the fact that he needs her to take care of him. She feels that she must be there for him because she fears he may be lonely if she leaves and won’t be able to cope as a widower. She is also understandably protective of her father – she is afraid to lose him like she did her mother. Thus, she can’t bear the thought of him ever remarrying which, in her mind, could potentially jeopardize their relationship. As the film progresses though, pressures on Noriko to get married come from all sides – her aunt, father, and best friend (and ironically, divorcée) all urging her that she must take this long overdue and necessary step. To her, the relationship she has with her father is more than enough and brings her contentment. However, she is made to feel like she is being selfish in staying home with him, especially when it is suggested that he wishes to remarry. Thus, she eventually gives into these pressures and marries at the end of the film, but is clearly devastated and unhappy with her choice.Shukichi can be analyzed in the same way. He seems to be very happy with his daughter home and with the lives they are leading together. It isn’t until his sister, Masa, makes the observation that Noriko has gone far too long without marrying, that he begins to question things. He too begins to pressure Noriko that she must marry, and begins to insinuate that he wishes to remarry as well and that she need not worry about taking care of him. Many conversations seem to have taken place between Shukichi and Masa off-screen, as at the end of the movie it is revealed that Shukichi’s plans for remarriage were fabricated by both he and Masa in order to influence Noriko in her decision. Shukuchi feigns happiness at Noriko’s wedding (as does Noriko… quite poorly), but at the end of the film we see him return home to his empty house in a devastating scene where his true distress becomes apparent.In this moment, the movie strikes a powerful note as we realize neither Noriko nor Shukichi wanted for this marriage to happen and neither are happy with the outcome. They were both made to feel selfish by others around them – Shukichi for keeping Noriko home so long with him and Noriko for keeping her father from remarrying. In reality, neither of these two things are true, but the characters are made to believe them through the pressures of their family and friends. Now, they find themselves in places that neither of them wanted or needed, but that society has deemed “correct” for them.It’s a poignant and thoughtful tale which is marvelously achieved by the strength of spectacular direction and acting. Setsuko Hara is absolutely radiant and Noriko. She shines in every single scene and has such an effortless quality to her acting that makes her every move feel completely natural. There is quite a lot of subtlety to her performance as well, as Noriko constantly hides her true feelings behind a big smile and a pleasant demeanor. This subtlety and depth of performance extends to Chishû Ryû as Shukichi as well, who is equally brilliant as a caring father who is conflicted between keeping his daughter by his side and shooing her out the door to a more socially acceptable life.And everything of course is tied together by Ozu’s absolutely masterful direction. He is able to frame his characters in such a respectful and gentle way that is never judgmental. And although this is a relatively sad story, it never feels like a condemnation of Japanese family values. Ozu’s strength is that he is able to simply present the story as it is, asserting that such is the nature of life and the pressures we all face. He doesn’t blame his characters or anyone else for the way things play out, he just ruminates on the existence of these family dynamics and their effect on the lives we lead. The end result is a powerful film that is deep, thought-provoking, and emotionally resonant.
F**T
Another Ozu Classic Given the Criterion Blu Ray Treatment To Mostly Great Effect!
Ever since I first watched "Tokyo Story" years ago I realised that I was watching the work of genius and it made me want to explore more of Ozu's work. When Sight & Sound made it the best movie ever made (Directors' List) on its latest list over "Citizen Kane" I knew many others agreed with me. I decided to have a look at another of Ozu's films that made the list and I am not disappointed. Although I believe "Tokyo Story" is still the overall better film this one "Late Spring" ranks not that far away in my books. Ozu has an uncanny ability to tell stories and explain the complexities of human relationships so well through film and especially familial ones that you can't help but to be affected and touched irrespective of what culture or ethnic background you are from as the issues covered are universally human. We have here a look at the new encroaching upon the old ways and how people attempt to make sense of and to adapt to these changes. We see great love of a parent for a child and to what lengths this love will manifest itself in the way of self-sacrifice. This Criterion release is pretty decent although in terms of picture and sound quality doesn't measure up as well as its "Tokyo Story" release as some obvious visual imperfections are present but thankfully not too many to ruin the viewing experience. I guess Criterion has taken the standard so high when it comes to restoration of classics that I have come to expect a very high level of quality. Still if you don't already have this and if you are a fan of great films this and "Tokyo Story" should be in your video library. Also included is a 24-page booklet containing essays on the director and the leading actress.Some picture quality issues but overall still highly recommended!
D**K
Shadows in the alcove
This sublime film juxtoposes ancient Japan (the tranquility of temples in Kamakura and Kyoto, the shadows of branches shimering in a sparce alcove, the pagentry of a Noh play) with a contemporary focus on the problems surrounding marriage and divorce in modern life.A father (Chishu Ryu) and virginal 27-year-old daughter(Setsuko Hara) live alone together and are clearly and hopelessly dependent upon each other. The film obliquely ponders what would happen if the daughter were to marry and leave the father. The daughter resists the idea, wanting to remain with her dad. But the world around her conspires to force her to change. With pressure from her aunt, her independent and divorced friend Aya, and foremost from her father, the daughter finally makes up her mind. The movie then concludes with just a brushlike hint at what the actual consequences of that decision might be, as the father nods his head in despair.Thus Ozu sets up his prototype family drama that he'd repeat over and over again after 1949 in other films such as Early Summer and Tokyo Story. Although Tokyo Story is Ozu's most famous masterpiece, Late Spring has a more bracing quality.I think it's because, in Late Spring, Ozu is constantly injecting powerful doses of ancient Japanese culture (the alcove, the stage play) that propel the story along. Although the daughter may want to continue rejecting comprimise, change and marriage, the constant presence of ancient ceremony reminds the characters that change is inevitable. (Setsuko Hara famously marks this when her head drops dejectedly while she and her father watch the Noh play). Thus the film itself a ceremony of life -- a ceremony Ozu would repeat.Like many original films that spawn sequels, Late Spring may in fact be the best.Criterion celebrates this with an excellent comentary track, two lucid essays, a decent print (I can't compare it to other versions, but it is mostly crisp with an occasional scratchy wave), and the inclusion of Wim Wender's 1985 feature documentary on Ozu "Tokyo Ga."Often DVDs aren't worth the money because they only bear one or two viewings before they sit on the shelf. Late Spring is worthwhile, a piece of art that hasn't weathered much despite 57 years and a fascinating introduction to one of the most intimate and culturally relevant filmakers ever.
T**.
Five Stars
the best japanese film !
D**D
Lit
Sweet movie
I**B
A superb edition
This is a superb rendering in the usual Criterion style of this Ozu masterpiece of emotional nuance.Highly recommended.
く**記
湛えられた美
「小津の映画で何が一番か？」という問い合わせには いささか答えがたいし その質問自体にもあまり意味が無いと思う、とは「麦秋」のレビューにも書いた通りである。「何が一番好きか？」という質問であれば「麦秋」と答えることにしているが 本作はどうか。「小津の映画で何が一番 美を湛えているか」これこそが本作に最もふさわしい問いかけであると思う。 何が美しいかというと まず原節子であるが 数ある小津の出演作の中でも原節子が最も美しいのは本作であると断言したい。特に花嫁衣裳で両手をついて 笠智衆に挨拶する場面は神々しいとしか言いようが無い。 但し 本作の美は 美人の原節子だけではない。鎌倉、京都の風物の美しさも群を抜いている。清水寺がかように美しく かつ 楽しげに描かれている例を小生は知らない。ましてや 鶴岡八幡宮前で杉村春子が財布を拾う場面。つい 杉村のコミカルな言動に笑ってしまうが よく見ると八幡宮の舞台と階段が実に美しい。 その他 全ての人が讃える 寝室の壺の映像などいくらでもある。実に美しい映画であると言えると思う。 それにしても 白黒映画というのは ある意味ではカラー映画より遥に美しい映像を作りやすいような気がしてくる。観ている者に色の想像を掻き立てて 各自が「自分の美の基準」で 映像を見るからだ というのは言いすぎだろうか？
メ**サ
二人の名優
原節子と笠智衆を見ているだけで飽きないです。日本語のまったりと品が良かった時代を楽しめます。
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