Late Spring (Banshun) 1949

Late Spring was my first experience of Yasujiro Ozu, and the film itself is so unique and creates it own sense of style and narrative that is completely captivating that I can not wait to experience more masterpieces from the Japanese director.

The story concerns Noriko, a late twenties woman living with her widowed father Shukichi Somiya, who would rather spend her life attending to her father than settle down and get married. Shikicki however would prefer to see her married, and so conspires with his sister Masa to have her married.

Ozu has a very distinctive style which feels entirely japanese. His camera is almost always static and for interiors Ozu positions his camera at a low angle as if the camera were sat down watching the action. Ozu is also a master of composition, his interiors reveal straight lines and right angles, framing within the frame his actors and the their story. There is also a sense that the home is a special place. As if we are glimpsing something secretive. Most of the action takes place in the living room, we rarely see bedrooms, and the action itself takes place along specific planes of action.

The acting is subdued, and subtle, but no less moving and Chishu Ryu in particular is absolutely mesmerising as the understated and loving father, who only wants whats best for Noriko.

Ozu, as a stylist is almost the antithesis of Kurosawa, who is all vibrancy and urgency with his kinetic editing. Ozu's films are slow, contemplative but equally hypnotic. The final scene of the film has a lonely Shikicki slowly and calmly peel an apple in one go. It's a simple metaphorical image that visually sums up Shikicki's situation and feelings.

Rarely are films this engaging and well paced, and rarely does a director create a film in which every single image demands close attention, Late Spring is considered by many to be Ozu's finest film and it is certainly a superb place to begin, as I did. Now all I want to do is watch the rest of his films.