Although the best-known master of the shomingeki genre, Ozu was not its inventor, nor did his approach to the genre remain unchanged over time.
While family members had their own places of activity—office, school, family business—there was no tension between the outside world and the home.
"[147], Stuart Byron of The Village Voice called Late Spring "Ozu’s greatest achievement and, thus, one of the ten best films of all time. Late Spring and Early Summer are startlingly different. "[136], Late Spring was released in Japan on September 19, 1949. The release includes a 24-page illustrated booklet as well as Ozu's earlier film The Only Son, also in HD, and a DVD copy of both films (in Region 2 and PAL). A later scene will do exactly the same thing, showing the train station before showing [the characters] already hurtling towards Tokyo… In Tokyo, [Professor] Onodera and Noriko discuss going to an art exhibit; cut to a sign for the exhibit, then to the steps of the art gallery; cut to the two in a bar, after they’ve gone to the exhibit.
They pass a diamond-shaped Coca-Cola sign and another sign, in English, warning that the weight capacity of a bridge over which they are riding is 30 tons: quite irrelevant information for this young couple, but perfectly appropriate for American military vehicles that might pass along that road. Masa surprises Noriko by claiming that she is also trying to arrange a match between Shukichi and Mrs. Miwa (Kuniko Miyake), an attractive young widow known to Noriko.
Shukichi is first seen in the film checking the correct spelling of the name of the German-American economist Friedrich List—an important transitional figure during Japan’s Meiji era. [82] The second trait, her strong aversion to the idea of marriage, has been seen, by some commentators, in terms of the Japanese concept of amae, which in this context signifies the strong emotional dependence of a child on its parent, which can persist into adulthood.
[112] But by the time of Late Spring, these were completely eliminated, with only music cues to signal scene changes. In the film’s penultimate sequence, the father and Noriko’s friend Aya sit in a bar after Noriko’s wedding.
"[149], Modern genre critics equally reviewed the film positively, giving the film an aggregate score of 100% on the review aggregator website Rotten Tomatoes from 24 reviews. There are better Ozu films, but Late Spring impressively boils the director's concerns down to their most basic elements. The concept of mono no aware is said to define the essence of Japanese culture.
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