Tag Archives: Yasujirô Ozu
Sanma no aji / An Autumn Afternoon (1962) Yasujirô Ozu, Chishû Ryû, Shima Iwashita, Keiji Sada, Drama
In the early 60’s in Tokyo, the widower Hirayama is a former captain from the Japanese navy that works as a manager of a factory and lives with his twenty-four year-old daughter Michiko and his son Kazuo in his house.
Munekata kyôdai / The Munekata Sisters (1950) Yasujirô Ozu, Kinuyo Tanaka, Hideko Takamine, Ken Uehara, Drama
Setsuko is unhappily to Mimura, an engineer with no job and a bad drinking habit. She had always been in love with Hiroshi but both of them failed to propose when Hiroshi left for France a few years ago. Now he is back and Mariko (Setsuko’s sister) tries to reunite them. She too is secretly in love with Hiroshi.
A father and his son, a son and his father. Horikawa is a widower, a teacher, and a good father to Ryohei, who’s about 10. After a tragedy, Horikawa resigns from teaching and takes Ryohei from Tokyo to the town of Ueno, enrolling him in junior high; to the lad’s sorrow, he will be a boarder. Horikawa returns to work in Tokyo, their separation is complete. Jump ahead more than ten years: with dad’s help, Ryohei has finished college and has a teaching job in Akita. Horikawa considers living with his son, which Ryohei wants, but the elder’s notions of duty and hard work preclude it. Ryohei arranges a ten-day vacation with his father. Heartbreak comes quietly, nearly hidden by dignity.
Seishun no yume ima izuko / Where Are the Dreams of Youth (1932) Yasujirô Ozu, Ureo Egawa, Kinuyo Tanaka, Tatsuo Saitô, Comedy, Romance
In postwar Tokyo, this household is loving and serene: older parents, their 28-year-old daughter Noriko, their married son, his devoted wife, and two rascally sons. Their only discontent is Noriko’s lack of a husband. Society is changing: she works, she has women friends who tease and argue, her brother sees her independence as impudence, she sees it as normal. When her boss suggests that she marry a 40-year-old bachelor who is his friend, all the members of her family press her to accept. Without seeking their advice, and to their chagrin, Noriko determines her own course of action.
A troupe of travelling players arrive at a small seaport in the south of Japan. Komajuro Arashi, the aging master of the troupe, goes to visit his old flame Oyoshi and their son Kiyoshi, even though Kiyoshi believes Komajuro is his uncle. The leading actress Sumiko is jealous and so, in order to humiliate the master, persuades the younger actress Kayo to seduce Kiyoshi.
The Brothers and Sisters of the Toda Family / Todake no kyôdai (1941) Yasujirô Ozu, Mieko Takamine, Shin Saburi, Hideo Fujino, Drama
When the patriarch of the Toda family suddenly dies, his widow discovers that he has left her with nothing but debt and married children who are unwilling to support her–except for her most thoughtful son, just returned from China.
Hitori Musuko / Le Fils Unique (1936) Yasujirô Ozu, Chôko Iida, Shin’ichi Himori, Masao Hayama, Comedy, Drama
The film starts in the rural town of Shinshu in 1923. A widow, Tsune (O-Tsune) Nonomiya (Choko Iida), works hard at a silk production factory to provide for her only son, Ryosuke. When Ryosuke’s teacher Okubo (Chishu Ryu) persuades her to let her son continue to study beyond elementary school, she decides to support her son’s education even until college. Her son promises to become a great man…
Akibiyori / Late Autumn (1960) Yasujirô Ozu, Setsuko Hara, Yôko Tsukasa, Mariko Okada, Comedy, Drama
Family and friends of the late Shuzo Miwa have gathered for his annual memorial service, this one marking the seventh anniversary of his passing. Three of his long time friends – married Shuzo Taguchi, married Soichi Mamiya, and widowed Seiichiro Hirayama – have long known and admitted to each other that they have always been attracted to his widow, Akiko Miwa, who they believe has gotten even more beautiful as she has matured. The three friends take it upon themselves to find a husband for the Miwa’s now twenty-four year old daughter, Ayako Miwa, who they believe as beautiful as her mother, and who, as a pure innocent, deserves a good husband. Their self-appointed task is despite them knowing that Ayako does not want them to do so. She doesn’t want to get married, at least not yet, as she struggles with her traditional sensibilities in post-war modern Japan. Her first priority as she sees it is to take care of her widowed mother, who would be alone if she were to get married.