Late Spring (The Criterion Collection) [Blu-ray]

This is one of those movies whose story is enjoyable & its ending quite fulfilling, yet whose "staying power" (as in lingering effect) promises to be minimal—until 3 weeks later, when you're STILL thinking about it, only now with a tremendous sense of wonder and a serious desire to rewatch it.It's Ozu magic, I guess. And somehow it's quietly overwhelming. You don't find too many filmmakers who can work magic like this.The release here by Criterion is lovely. Its extras even include a feature: Wim Wenders' Tokyo-Ga (1985), a 92-minute documentary that seeks to find artifacts of Ozu's filmed Tokyo amid a modernized city that time and Western influence have radically changed. Ozu, who died in 1963, often cast his favorite actor, Chishu Ryu, in his films, and Wenders interviews Ryu as well as Yuhara Atsuta, who worked for Ozu as a cameraman. It's a fantastic bonus for a fantastic film!

***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.

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!

Ozu's films are so unassuming, modest, and economical that you don't immediately realize how great they are (it will hit you at some point in the second act, though). They are also shrewdly accurate reflections of Japanese culture, and not only with respect to the time in which they were produced. True to Criterion Collection form, the transfer is gorgeous and the extras are great, especially the addition of Wenders's Tokyo-ga.

This is a superb rendering in the usual Criterion style of this Ozu masterpiece of emotional nuance.Highly recommended.

the best japanese film !

Sweet movie

名画の一つだとは思いますが、リアリティー、生活感がないですね。この映画が出来た頃は、まだ社会全体は貧しかったはずで、この映画は当時数少ないアッパーミドルの家庭のドラマなのだと思います。原節子演じる娘は「家事手伝い？花嫁修業中？」なのか、自宅で執筆している「鎌倉文化人風？」の笠智衆ともども生活感がなく、浮世離れしているような気がします。彼女が結婚しないのは、父親が心配なのではなく、ふわふわした「家事手伝い？花嫁修業中？」という楽なポジションからの変化を望んでいないということなのかな、と思いました。楽な状況に止まりたいアッパーミドル家庭のフリーターを、周りが苦労して「結婚」という自立？に向かわせる「お話」です。

まさか　レンタルビデオ屋さんの　使い古しを　買うことになるとは思わなかった。こんなことなら、NHK-BSの　デジタル　リメイク版の　放送を待てばよかった。あ～ぁ。