This view of contemporary middle class life in Japan is too leisurely paced, too sentimental in design and its humorous social comments too infrequent.
An Autumn Afternoon (1962)
Tomatometer
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Reviews Counted: 11
Fresh: 10
Rotten:1
Average Rating: 7.8/10
Runtime: 1 hr 55 mins
Genre: Foreign Films
Synopsis: An aging widower makes arrangements to have his favorite daughter married and seeks comfort in sake and old friends. The setting of modern day industrial Japan, with its neon signs, factory... An aging widower makes arrangements to have his favorite daughter married and seeks comfort in sake and old friends. The setting of modern day industrial Japan, with its neon signs, factory chimneys and rooftop golf, is lushly filmed in breathtaking color as Yasujiro Ozu constructs his last tale of the final stages of a Japanese family. This gentle film follows the father as he hears of yet another of his friend's daughters being married and fears that his daughter will never leave his side and thus, never marry, echoing Ozu's earlier film, LATE SPRING. As the arrangements are made to set his daughter out on her own course, the father reflects on his own life and finds that he is fast arriving at its end, and that he is essentially alone. One of only a handful of color films made by Ozu, this, his final film, is seen as a distillation of the themes and narrative motifs explored in 53 films and 60 years of filmmaking. [More]
Starring: Chishu Ryu, Shima Iwashita, Shin-Ichiro Mikami, Mariko Okada
Starring: Chishu Ryu, Shima Iwashita, Shin-Ichiro Mikami, Mariko Okada, Keiji Sada
Director: Yasujiro Ozu
Director: Yasujiro Ozu
Screenwriter: Kogo Noda, Yasujiro Ozu
Composer: Takanobu Saito
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Release:
Sep 30, 2008
Reviews for An Autumn Afternoon
a relatable slice of life and, for Ozu fans, a final glimpse into a director's evolving thoughts on life and culture in his last film.
What do all these subtle modifications to the otherwise similar template suggest?
It's also a remarkable example of a "last film." It sums up a career's worth of work, while simultaneously looking ahead and coming to terms with new ideas.
Once again, some of the most powerful emotions evoked are due to Ozu's minimalist imagery
Only this film and Good Morning were made in colour, but Ozu applies it here with great care and precision, another mark of his sublime philosophical and cinematic continuity.
Such a completely realized example of the Ozu art that it seems impossible he did not intend it to be a kind of testament.
With its beautiful camerawork and coy, subtle humour this is filmmaking at its finest and most articulate.
Stylistically it's one of Ozu's purest, most elemental works: no camera movement, very little movement within the frames, and hardly any apparent narrative progression.
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