Late Spring
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Veteran Japanese writer/director Yasujiro Ozu's second postwar production was 1949's Late Spring or Banshun. Chisu Ryu plays another of Ozu's realistic middle-class types, this time a widower with a marriageable daughter. Not wishing to see the girl resign herself to spinsterhood, Ryu pretends that he himself is about to be married. The game plan is to convince the daughter that they'll be no room for her at home, thus forcing her to seek comfort and joy elsewhere. What makes this homey little domestic episode work is the rapport between Chisu Ryu and Setsuko Hara, who plays… More
Rotten Tomatoes Score: 100%

Critic Reviews from Rotten Tomatoes

"One of the best two or three films Ozu ever made."
‑ Roger Ebert, Chicago Sun-Times
"Ozu's low camera position helps the audience relate to his characters, and his almost-always static shots portray the sturdy demeanor of his characters."
‑ Eric Melin, Scene-Stealers.com
"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."
‑ Brian Gibson, Vue Weekly (Edmonton, Canada)
"One of the director's favorites."
‑ Dennis Schwartz, Ozus' World Movie Reviews
"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."
‑ Thomas Delapa, Boulder Weekly
"Ozu's characters don't seek ecstasy, not because they are afraid of it but because they are brave enough to accept compromise."
‑ Vincent Canby, New York Times
"Ozu trains his trademarked fixed camera on the deceptively simple story of a father and daughter and finds in it nothing short of the whole wide world."
‑ Christopher Long, Movie Metropolis
"An early indicator of Ozu's late-career greatness, his remarkably subtle family drama Late Spring finds him at his expressive peak."
‑ Jeremy Heilman, MovieMartyr.com
"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."
‑ James Kendrick, Q Network Film Desk
"welcome respite from mindless, dispassionate cinema"
‑ John A. Nesbit, Old School Reviews
"Yasujiro 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."
‑ Dave Kehr, Chicago Reader
"impermanence... forms the film's true subject - and it is Ozu's ambivalence towards it, as though he wants both to board the train, and to stay on the platform, that ultimately gives Late Spring its bittersweet resonance."
‑ Anton Bitel, Little White Lies
"Late Spring is, along with Tokyo Story, Ozu's greatest work."
‑ Jeffrey M. Anderson, Combustible Celluloid
"the work of a master"
‑ Don Willmott, Filmcritic.com
"Late Spring exemplifies Ozu's rich, mature style, an apparent stylelessness of patient, lifelike rhythms, unobtrusive camerawork, and credibly subtle performances. [DVD]"
‑ Peter Canavese, Groucho Reviews
More reviews for Late Spring on Rotten Tomatoes