Ochazuke no aji

Ozu's interpretation of Lubitsch. It's probably his most outright funny film after Good Morning, and the breezy tone is reminiscent of An Autumn Afternoon, although it's less formally impressive, despite the constant camera movement by Ozu's standards, and it's not as multi-layered. The usual themes are explored, and the generational conflicts often play out in clever and amusing ways, but it lacks the emotional impact of his very best films. Mid-tier Ozu is still nothing to scoff at though.

Chishû Ryû needed some more scenes. The usual Ozu themes about the cultural changes in post war Japan and marital relations/class relations but it moves at such a breezy pace that's pretty different from a lot of his stuff.. Full of wit. Everything is framed perfectly.

Ozu's sneak effect on full display: an almost imperceptible profundity as the film slides from gentle comedy, into melodrama, and finally ends in reconciliation and understanding. One of this filmmaker's greatest hallmarks is his generous consideration for all of his characters, even amid resentful circumstances.

What feels at first to be a relatively straightforward satire on gender relations reveals itself to be an examination of distance itself. What keeps two people so far from one another despite being bound in the most intimate of ways? The unexpected emotional impact is endearing. I do wonder if, by siding so much with the male perspective, it does not answer its own central thematic question with as much complexity as it could have? (salvaged slightly by self-awareness of its own didacticism)

Probably Ozu's funniest movie. A really quick, sharp script. In the way only a few can do, Ozu makes something so devastating seem light, calm and peaceful. Definitely feels like an influence on something like the before trilogy.

Here we are, my first Ozu. Took me long enough. A very pleasant sit

Ozu's stories are so simple, that it gets almost banal. But the magic about it is the straight way he puts you inside old Japanese everyday. Plus, every scene, I mean EVERY scene looks like a picture. He was very methodic about the movie's framing.

Yasujiro Ozu #6

# 952

Stands out among Ozu's films by having a moving camera, elements of comedy, and even slapstick. Starts off as a light-comedy similar to Hong Sang-soo for instance, demonstrating the Americanization of post-war Japan and the vanishing of old customs. The last third suddenly shifts back into the usual Ozu, to a conservative acquiescence of fate and transience of beings. Thus the film itself gives you the flavor of green tea over rice; the necessary bitterness to digest sweet offerings of life.

Touro.

Interesting enough and pleasant enough light melodrama that doesn't reach the heights of which this filmmaker is capable.

watched: 2013, 2022

As always with Ozu, I found an awful lot to like about this movie, but I wasn't quite enamored enough to gush over it. Most of the core cast is superb, although it's not Ozu's usual team. Michiyo Kogure might be a little too nasty, but I have to say it's kind of refreshing to see a less restrained character in an Ozu film. Perhaps the film wraps up too nicely and neatly, but I wouldn't say it's entirely unwarranted. At any rate, I enjoyed the film with its insights and gentle humor.

ozu makes a movie about marital problems and the generation gap. the world trembles.

Ozu é tão perspicaz na sua análise da sociedade japonesa de meados do século XX que duvido encortrarmos um historiador melhor nesse sentido, os filmes dele parecem tão simples mas ao mesmo tempo é tão rico em significados e este não é diferente e nos últimos vinte minutos residem uma das mais belas sequencias da história do cinema que só confirmam a maestria de Ozu. DVD Versátil O Cinema de Ozu Volume 3.

I'm convinced Ozu had some sort of superhuman vision of humanity. .Ozu KNEW people, he saw the threads between all the connections: spouse-parent-child-sibling-friend. The drama in Green Tea Over Rice slowly builds to an intense breaking point and here, as expected, brings it home in a stunning denouement. A longer sequence than most, it's full of breath and breathlessness and, as always, hope.