Late Spring (1949)

Late Spring was the film that made me discovered Ozu, and it was a powerful experience. I am still amazed at the level of intensity of feelings reached in this film with apparently so little effects. I also discovered Setsuko Hara in that film and I was hooked from that unforgettable moment when her smile fades from her face on hearing her aunt mention the possible remarriage of her father. Ozu's films made me discovered a new way of filming people and their relationships to each other. For instance the often mentioned low camera position he used emphasizes the feet of his actors and makes the viewer aware of the different footsteps of each character- Setsuko Hara's feet for instance seem to dance, barely touching the mat(tatami). We thus experience a perspective on the human body different from western films which tends to focus on the upper part of the body and make little case of feet. I think Ozu's films are a striking example of the possibility to reach out to a distant viewer both in space and in time while remaining rooted in its specific culture without concessions.

Fmovies: The revelation of Noriko's wedding dress is perhaps the most powerfully painful moment of cinema I've ever experienced. The contrast between her freedom before her wedding, the moving camera (very foreign to Ozu) her range of emotion, her geographical and social freedom, and the deeply disturbing oppression that her wedding signals is very affecting. It is gutting. And so devastating that she accepts her oppression. Powerful, if needing commitment and patience. Especially the six minutes of the impenetrable Noh play.

LATE SPRING is another insightful look at 20th century Japanese life by master film-maker Yasujiro Ozu. A really perfect film. A great script that centres around a wonderful father/daughter dynamic as it probes into generational gaps, tradition, marriage and life during the reconstruction of post-war Japan. Beautiful acting by Chishu Ryu and Setsuko Hara bring to life screenwriter Kôgo Noda's realistically written characters. As always Ozu threats both his audience and characters with the respect they deserve. The image of Setsuko Hara in her wedding clothes is certainly one of cinema's most beautiful and touching moments. A genuine masterpiece!

Late Spring fmovies. This is an excellent Japanese drama by one of its greatest directors.The story is quite simple but directed masterfully and leaves you thinking for a long time after the watching.I just want to comment on one aspect which seems to me very important for better understanding of the movie and which hasn't been tackled upon yet by other viewers.I don't think that the father's only concern about his daughter is her just getting married.It is especially seen in the scene where he is talking about the issue with a woman in the bar at the end of the film.There is some feeling of selfish future plans on both sides while they smile and talk to each other.I think that Noriko felt it,too, but couldn't go against her father's will.This is something that is not stated clearly,but rather hinted by certain phrases,looks,smiles and emotions. Highest recommendations.A true gem!

The concept of mono no aware is said to define the essence of Japanese culture. The phrase means "a sensitivity to things", the ability to experience a direct connection with the world without the necessity of language. Yasujiro Ozu sums up this philosophy in Late Spring, a serene depiction of the acceptance of life's inevitabilities and the sadness that follows it. The film shows the pressure in Japanese families for children to be married as the "natural order" of things, regardless of their wishes. One wonders if Ozu, who never married, is sharing his own family experience with us.

In Late Spring, a widowed Professor, Somiya (Chishu Ryu), must face the inevitability of giving up his daughter, Noriko (Setsuko Hara) to marriage. Noriko, however, wants only to continue to live at home and care for her father and insists that marriage is not for her. Yet the social pressure to marry continues to build, coming not only from her father but also from Somiya's sister Masa (Haruko Sugimura) whom she calls "Auntie", and from a friend, the widower Onodera (Masao Mishima) who has recently remarried. Masa, unrelenting, presents Noriko with a prospect named Satake who reminds her of actor Gary Cooper, but she is still reluctant. To make it easier for Noriko to decide, Somiya tells her that he is planning to remarry and she will no longer need to take care of him. Noriko's agonizes over her decision and her once beaming face increasingly carries hints of resignation. At the end, the old man sits alone peeling a piece of fruit as the ocean waves signal the inexorable flow of timeless things.

Robin Woods in his fascinating new book of criticism "Sexual Politics and Narrative Film" writes eloquently about this film as a defining example of Ozu's films progressive nature. I would agree and add wholeheartedly that even after reading Wood's non-traditional take on Ozu I was still blown away by the film's rich identification with the character of Noriko (played by the legendary Setsuko Hara). The story is simple: Noriko a single Japanese woman is living a seemingly happy life caring for her widowed aging father. Social pressures, however, force family and friends to believe that Noriko can only be fulfilled by entering into marriage, although Noriko seems to have no interest in marriage herself. With this simple narrative Ozu is able to create a relationship between his characters that is so rich and complete we feel we know them. As always this is done with the smallest of carefully studied behavior and the precision of mise-en-scene over fancy editing and dazzling camera movements. A wonderful, heartbreakingly real movie from one of Japan's greatest directors.