Product Description: The first of a series of intimate family portraits that would cement Yasujiro Ozu s reputation as one of the most important directors in cinema history Late Spring tells the story of a widowed father who feels compelled to marry off his only beloved daughter. In the hands of two of the director's finest actors Chishu Ryu and Setsuko Hara this poignant tale of love and loss in postwar Japan remains as potent and meaningful today as ever. System Requirements:Running Time 110 Mins.Format: DVD MOVIE Genre: DRAMA Rating: NR UPC: 037429208427 Manufacturer No: LAT040DVD
Amazon.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 Shannon
On 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
Fathers and Daughters, Love and Marriage Many of Ozu's films are variations on a theme. He would take essentially the same characters, and essentially the same them, but run them through a different set of circumstances. Always about the family, sometimes he would focus on the sons, sometimes the mother, sometimes the father, and sometimes the daughter. When the daughter is involved, there are sure to be prospects of marriage.
"Late Spring" ("Banshun") is a Father/Daughter play, focusing on the relationship that can develop when a widower father is being tended to by his single daughter. Both are happy with the relationship, and love each other, but know deep down that the daughter must leave to live her own life, that happiness cannot be found only in being a dutiful child, but that a woman can also be a wife, a lover, a mother and many other things that are closed to her when she takes on the role of platonic wife and caregiver to her father. The father must free the caged bird that his is daughter, even though it will decrease his own happiness. He knows she will never leave on her own, so he devises a plot that he will re-marry, and that he doesn't need her anymore.
The usual cast is assembled. Ryu Chishu is the father in this movie, as he would be again in Tokyo Story, although he was the older brother in the similar-themed Early Summer. Hara Setsuko is, of course, the loving and perfect daughter Noriko, the same name her character would take in almost every Ozu film. These two are the consummate Ozu actors, able to realize his vision and themes so fluidly and naturally it is impossible to see anyone else in their roles.
As usual, Ozu's genius with imagery and subtly is beautiful to behold. Two people walking by a Coca Cola sign becomes so much more, even though nothing overt must be said. The unspoken element is far more important than the dialog, and all the still waters of the surface churn with hidden depths and struggles. The new subtitles by Kerim Yasar are a perfect vehicle for non-Japanese speakers to connect with the story. Very little is lost in translation, and it is a good collaboration between the two.
This Criterion DVD also contains the documentary Tokyo-Ga, directed by Wim Wenders. Not specific to "Late Spring", it seeks the world of Ozu, visiting locations and interviewing old cast members to try and understand the simple secrets. It is an excellent addition, and sets a good stage for those who have never seen Ozu before, but would like to know more.
A giant film that exudes humanity! Yasujiro Ozu proves once again, why he was the most sensitive Japanese poet in what familiar relationships concern. His films are like a set of Haikus, plenty of filial and disinterested love.
A wealthy, old and widowed father (56) is really worried about the destiny of his own daughter (24) because he is aware about the huge devotion she feels for him. But the years will pass and someday she will have to find a man in order to get marry. He knows it and although all his advises, she remains indifferent. That is why knowing she became maid in a recent future, he will make the best he can to find for her a good man capable to deserve her.
The sake on the other hand, is an affective illusion, a relief for his loneliness and hopeless due he is aware the end is near.
As we may expect both affective lines will intersect conveying us to find the meaning and profound transcendence of love in our lives.
An intense, haunting and poignant film that must be seen keeping in mind the poetic atmosphere that will permeate the movie from start to finish.
Still amazing... I discovered this film a long long time ago and have loved it ever since. A bit similar to Early Summer and Tokyo Story (probably his most famous masterpiece), this delicate and intimate film is by far my favourite Ozu. A very moving family drama with amazing acting, especially by Setsuko Hara who plays the daughter Noriko. Torn between tradition, her father's wishes and her own feelings, coupled with a meddling aunt and friend, she tries desperately to keep things as they were - too afraid to leave her father and the safety of the family home, she feels pushed to pursue the unknown...
This edition has a good transfer considering the age of this film. The audio-track has some distortions though. The commentary track on this Criterion edition is fantastic by the way, as well as the documentary on the bonus disc. An amazing film and a great DVD-edition.
"Remember we married other men's daughters." Directed by Yasujiro Ozu, Late Spring is the story of Noriko Somiya (Setsuko Hara), who lives with her widowed father Shukichi (Chishu Ryu) in their traditional Japanese home. She cares for him as a wife might, making him dinner at night and mending his socks. He worries about her; she is already 27 years old and seems to have no intentions of marriage. He and his sister (Haruko Sugimura) gang up on Noriko to find her a husband, but she feels betrayed by her family. She feels she can be no happier than she already is and does not want to abandon her father.
Be forewarned that this movie is not filled with action. In fact, you may find yourself wondering when things are going to get going. The style of the film simulates reality. Something exciting does not happen everyday, so neither does it in this film. This approach makes the characters seem more relatable, and the performances given are excellent. Hara is beautiful and subtly emotional. Ryu is very lovable with his toothy grin and easy-going manner. Sugimura is delightfully funny.
The picture is beautiful, which complements the photography wonderfully. There are a few moments of scratchiness toward the end, but it is easily ignored. The most memorable scenes are those set in Kyoto, especially the outdoors scenes. One can just feel the fresh breeze and the warm sun glowing down. Many of the shots are taken from low angles, which gives the audience an interesting perspective. There is minimal movement throughout the film, which leaves one feeling calm and introspective. The theme of change is very powerful, but it is presented in a very non-threatening way. Perhaps this is why Ozu is so effective as a director.
Mono no aware The always-luminous Setsuko Hara shines even more brightly here with marvelous touches of humor, pathos, her trademark smile, and beautiful five-centimeter eyes. She's onscreen much more than in "Tokyo Story" and plays this Noriko with great depth of feeling.
Chishu Ryu is wonderful as the father and all of the supporting characters hit their marks at perfect pitch.
It's just a lovely, satisfying piece of filmmaking. There should be a shrine to Ozu in every movie-making city in the world.
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