This film speaks to an era and mentality far removed from my own, and didn't pull me across the chasm to join it. This, coupled with a severe tone and ponderous pacing, renders the film a mixed experience, and in the end I appreciate the small oddities of the film's period and characters far more than I do its premise.

Hello, stop breathing on my purse

Another perfectly fine Ozu film, not a whole lot to say that I haven't said before. Although I'm rarely swept off my feet by Ozu's movies, I have to yet to find one that I truly dislike (I've even considered adding Early Summer and maybe Tokyo Story to my collection). This one doesn't really distinguish itself in any special way, but the color is nice and there's some pretty good humor in it.

This is one of the few I've seen of this director that seems a bit tired for me, has a few moments of greatness but the main narrative is dopey; I also don't care for Shin Saburi in the lead (not the best use of Ozu regulars in general). I'm always taken aback by the color compositions though, they're both dynamic and down-to-earth to fit the natural tone. Has there been a director who's made the switch to color so effectively?

Another gentle Ozu comedy about fathers, daughters, marriage, and the changing mores of Japanese society. This is Ozu's first color film, and it is photographed beautifully.