Late Spring (1949)
Average Rating: 8.9/10
Reviews Counted: 19
Fresh: 19 | Rotten: 0
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Critic Reviews: 3
Fresh: 3 | Rotten: 0
Average Rating: 4.3/5
User Ratings: 4,543
Veteran Japanese writer/director Yasujiro Ozu's second postwar production was 1949's Late Spring or Banshun. Chisu Ryu plays another of Ozu's realistic middle-class types, this time a widower with a marriageable daughter. Not wishing to see the girl resign herself to spinsterhood, Ryu pretends that he himself is about to be married. The game plan is to convince the daughter that they'll be no room for her at home, thus forcing her to seek comfort and joy elsewhere. What makes this homey little
Jan 1, 1949 Wide
Nov 30, 1994
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Ozu's characters don't seek ecstasy, not because they are afraid of it but because they are brave enough to accept compromise.
Yasujiro Ozu's 1949 film inaugurated his majestic late period: it's here that he decisively renounces melodrama (and, indeed, most surface action of any kind) and lets his camera settle into the still, long-take contemplation.
Ozu's low camera position helps the audience relate to his characters, and his almost-always static shots portray the sturdy demeanor of his characters.
Ozu trains his trademarked fixed camera on the deceptively simple story of a father and daughter and finds in it nothing short of the whole wide world.
impermanence... forms the film's true subject - and it is Ozu's ambivalence towards it, as though he wants both to board the train, and to stay on the platform, that ultimately gives Late Spring its bittersweet resonance.
Haiku-like in its title, its interest in the undramatic silences between scenes, and its enfolding of human behaviour within nature, Late Spring offers tenderness in the place of melodrama and patient truth in the place of sudden revelation.
An early indicator of Ozu's late-career greatness, his remarkably subtle family drama Late Spring finds him at his expressive peak.
Ozu's camera is observational, rather than intrusive; even when we get something akin to a close-up, it never feels like it's invading the character's space.
Exquisite ... What little plot there is in Late Spring is adorned by Ozu's Zen-like meditation on objects, surroundings and the Japanese concept of mono no aware -- the ineffable resignation to the reality of life as things are.
Late Spring exemplifies Ozu's rich, mature style, an apparent stylelessness of patient, lifelike rhythms, unobtrusive camerawork, and credibly subtle performances. [DVD]
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