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Rating Averages
My Friends |
Not rated. () |
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All Flixster |
(555) |
342 |
1992 |
Female |
(142) |
87 |
507 |
Male |
(413) |
255 |
1485 |
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Plot: A spinster makes a change in her life with the help of her sister.
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Recent Reviews
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MCT:October 11, 2007I'm beginning to like Ozu, watching this film was really like receiving a revelation. The entire film was just as important to me as to the father and daughter in this film. I was absolutely struck by this.
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MCT:October 8, 2007
Banshun
A beautiful -- and very modern feeling, considering it is nearly 60 years old -- portrayal of the changing concepts of family and marriage in post-WWII Japan. The damage of the war, although specifically brought up in just a few brief mentions, is foregrounded by the absent Somiya family mother, and the way this affects both the bond between father and daughter and the loyal daughter's attitude toward the possibility of her own marriage.
Nearing precariously the age of confirmed and irrevocable spinsterhood, only daughter Noriko finally gives in to the subtle yet impassioned plea of her father to accept an arranged marriage and thus follow what has always been, he argues, the accepted path of single women, the natural path of custom and of history. Noriko, however, will only finally agree to marriage, to breaking her seemingly unbreakable bond with her father, when her father lies to her, telling her that he will not be alone, that he will marry again, so Noriko need not worry any longer about him.
Sadly, the good intention behind this lie and his daughter's hoped for happiness are not enough to leave the father, Shukichi, unaffected by his daughter's new upward journey on the road to marital bliss and security. The final scene where Shukichi, now sitting alone in his empty house, hangs his head in sorrow, is a bittersweet sign that this ultimate sacrifice for his daughter's well-being will leave him very much alone and lonely indeed.
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MCT:August 30, 2007
One of the most serene and Zen experiences I've had.
Beautifully filmed, each shot is simple but greatly affecting/effective; subtly cut, and very cleverly too. The acting, albeit is sometimes kind of strange, is top-notch.
One of the most quietly moving pictures I've seen-- It feels like watching a Noh play or gazing out into a large Zen garden... -
MCT:August 18, 2007
"It is a truth universally acknowledged, that a single man in possession of a good fortune, must be in want of a wife." - Pride and Prejudice
While this statement is not relevant to any leading man in the story of Late Spring, Austen's famous line does underline the irony in the beliefs of the relatives and friends of Noriko, the main character in the film. Almost past the prime age for marrying, Noriko is pressured by her relatives and friends to a traditional arranged marriage. Yet, she is perfectly content with her life with her widowed father, with who shares a close relationship unlike that of a traditional father and daughter. She argues with her father, who unselfishly wants to see her married, who will take care of him once she's living with her husband? Her father tells her that will solved by him remarrying, a concept that she opposes. Throughout the film we never see the groom, not even a photo of him. Likewise we never seen the wedding take place. Why? Because they are useless to the film. Ozu uses ellipses to skip these scenes which a typical movie would normally highlight, instead he focuses on the small, private moments of life that says the most about the characters and their emotions. Late Spring is quintessential Ozu, and his most perfect and thematically focused film. The emotional intensity it achieves will never be matched. -
MCT:July 19, 2007
Simplicity, elegance, unity, harmony austerity, this are characteristics of the Zen Tradition but also to the films of Yasujiro Ozu. One of the most consistent works in the history of cinema and one of the most rigorous works in terms of style. Simplicity and elegance where every thing in his compositions was meticulous placed to achieve a pictorial cinema. A cinema where you can put alone the image an it will be very beautiful to look, the movie is so subordinated to form, to symetry, balance and visual harmony that every frame that you see in a Ozu film is something beautifull.
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MCT:April 14, 2007
One of the most touching films of all time! It is another one of Ozus 'character heavy' films, which works so well.
I would fight and say it has one of the greatest end scenes of all time -
MCT:February 24, 2007I've heard of YO, but I never got to see any of his movies....Better start soon, this doesn't look like the kind of thing I wanna miss out on!
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MCT:December 21, 2006
Another fantastic example of Ozu's work. As usual, very restrianed and very simple. Ozu examines family relationships and the social beliefs of Japan at the time. The struggles of women and the worries of fathers are all played out. The great thing about Ozu is that he doesn't tell us what to think, a story is laid out in front of us with each characters emotions open to interpretation. A very moving ending, but one that doesn't try and make us cry. Slow and boring to some, Ozu is a director who has no need to try and impress his audience. Ironically, this is the most impressive thing about him.
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MCT:November 18, 2006
In my opinion Ozu's most moving film, a quiet little drama about a father who wishes to get married, and his daughter who wishes he wouldn't. With a devastatingly understated ending.
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MCT:October 15, 2006
Late Spring is another insightful look at 20th century Japanese life by master film-maker Yasujiro Ozu. A really perfect film. A great script that centres around a wonderful father/daughter dynamic as it probes into generational gaps, tradition, marriage and life during the reconstruction of post-war Japan. Beautiful acting by Chishu Ryu and Setsuko Hara bring to life screenwriter Kôgo Noda's realistically written characters. As always Ozu threats both his audience and characters with the respect they deserve. The image of Setsuko Hara in her wedding clothes is certainly one of cinema's most beautiful and touching moments. A genuine masterpiece!
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