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Reviews Counted:16
Fresh:16
Rotten:0
Average Rating:8.8/10
Runtime: 1 hr 50 mins
Genre: Foreign Films
Synopsis: A heartbreaking and fragile story of family devotion and sacrifice, Yasujiro Ozu presents here perhaps his most perfect film. Chisu Ryu takes up his consummate role of the solitary and thoughtful... [More]
Starring: Chisu Ryu, Setsuko Hara, Haruko Sugimura, Jun Osami
Director: Yasujiro Ozu
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.
Late Spring is, along with Tokyo Story, Ozu's greatest work.
One of the director's favorites.
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.
the work of a master
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.
welcome respite from mindless, dispassionate cinema
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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One of the best two or three films Ozu ever made.
Top CriticNo review available.
Ozu's characters don't seek ecstasy, not because they are afraid of it but because they are brave enough to accept compromise.
Top CriticNo review available.
With no one looking but the camera, Hara's face registers anger, jealousy and humiliation, all in the space of a few seconds.
No review available.
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Top CriticYasujiro 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.
Top Critic
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