This film destroyed me. It feels even worse knowing that Setsuko Hara passed away just recently. I love this feeling of destruction and anguish that I get from Late Spring because it shows how greatly Ozu cared about and loved his characters and their stories. I love this and I love Ozu.
You said it perfectly Isaac. I don't know if you know this but Setsuko guarded her privacy very carefully. Nevertheless, I was making plans to go see her with a Japanese friend when she died. .. Heartbreaking for me.
It destroyed me also. I saw it after seeing "Tokyo Story" and I didn't think I'd see another film like that one. "Late Spring" is my favourite Ozu movie. What an artist. I too love Yasuijirō Ozu
I love this film so much because it’s like a beautiful tragedy. In the beginning, Noriko is very smiley all the time (even through tough conversations) and we get the idea that she doesn’t think about hard subjects and only cares for her father’s well-being all the time. Then, it gets planted in her head that she should “fly from the nest” and get married. Suddenly, she seems upset and it makes us upset too. She doesn’t want to leave her father behind, but she knows that it is time to think about herself for the first time. Then at the end Shukichi returns home alone for the first time and feels the pain. This is familial loss.
I have seen it three times. The odd thing is that while watching the emotions never feel powerful, yet when I later think of the film it strikes me quite powerfully.
I watched this a couple weeks ago and could just not stop thinking about it. Every time I would look at something gorgeous in life my mind would trace off to this film. Absolutely masterful and Ozu has become one of my new favorite directors
For me Late Spring is Yasujiro Ozu's shining jewel. It is the first film in the "Noriko trilogy" and it deals with post war Japan shortly after the occupation by American forces has ended and the modern Japan we know begins to emerge. At the same time long held societal and personal traditions still carry a great weight for people in their family lives. Most westerners who enjoy this film are attracted to the simple story of a young woman's love and devotion for her father and their dilemma. They also talk in detail about Ozu's filming techniques and choices, which are wonderful of course, but I feel that after some study about Japanese history and culture, that Ozu did not really care if western audiences understood or "got" the film. Therefore he set out to make a truly Japanese film and story that is placed directly in its own time and place; Post war Japan 1949 and he would subliminally add traditions and philosophies that would only have meaning for the Japanese audience. You should know that from the end of the war until the end of occupation, all domestic films needed to be approved by the Americans and they might not approve any type of overt showing of these philosophies, many of which Japan’s new constitution made irrelevant. So what makes this a traditional Japanese film? Three philosophies are firmly embedded in the movie. Without going too deeply into each, I will give an example and a quick definition on how it affects the story. First, the concept of Mono No Aware, which is the “Embrace of impermanence” in our lives. Noriko cannot live in her desired situation with her father forever and knows that it must end even though she resists the idea, she does, in her own mind realize what must come to be. She does learn how to accept this through the course of the story, even though the lessons are difficult. Her father also accepts the impermanence of life in the very moving scene which closes the film. Secondly, Ichigo Ichie, the concept of “One meeting, one lifetime” Noriko as she interacts with her father and others in the film, begins to appreciate that moments in her life with others can never be repeated or replaced, that they are all unique and memorable. She must learn to appreciate them as such. In a wonderful scene where they attend a Japanese theater, the play itself is heavily influenced by this concept. Noriko for her part must learn to use this so she can accept the impermanence and changes that will occur in her life. Finally the concept of Ma, the philosophy of “The space in between”. It is sometimes physical space (as in architecture or living space design), emotional space or spiritual. It is an empty space where divine energy is shared and for the purpose of this film, understanding and appreciation are found. The scene that absolutely shows this is the famous “Vase scene”, where Noriko and her father are talking while preparing for sleep and Ozu cuts to a still shot of a vase before a window with the shadow of leaves. It is a very quiet and peaceful shot and to drive the point home he cuts to it twice, which almost never did in any other film. This use of Ma is not spelled out so as to move the plot, rather Ozu inserts it so that the audience can pause and choose its own interpretation of the scene and the thoughts of Noriko as she feels the imminent circumstances that are about to change her life forever. This is such a brilliant film and Ozu uses such a light touch to also remark on the condition of the post war society and the effects of the occupation. He truly allows his audience to experience the lives of the characters and decide on their own what feelings the story will invoke. It used to make me quite sad that Noriko and her father would be separated, but now when I watch it I feel a sense of her finding and making the best of her new life. I even imagine a relationship she will have with her own children and what a wonderful mother she will be. And so in the best Ozu tradition, Life goes on.
"Japanese " Gary? Perhaps the greatest movie period... Tokyo Story is also top five of all time . But the scene where Setsuko and her father are packing together is simply cinematic perfection...
Reid Sheftall I don't disagree with you Reid it's at my number two in my all time favourite movies. And it could move up to number one in the future it's just behind in the mood for love for me but not by much and it could move up to my number one in the future. I do think it's better than Tokyo story. Early summer is also an incredible film and I prefer it over Tokyo story. Tokyo story is in my top 10.
Exactly Gary.. What a painful decision we have ; to decide which of these MASTERPIECES is the greatest work of all time.. "painful".. (sarcasm intended...)
Reid Sheftall well late spring is the best for me, Then early summer and Tokyo story third. He's made many other masterpieces such as Tokyo twilight, good morning, Equinox flower, the munekata sisters, late autumn and an Autumn afternoon to name a few.
Will you think I am a cop out if I say Tokyo Story and Late Spring are in a tie.. When I saw TS, I left it running over and over in my room for a week. But i could only watch Late Spring once... Maybe that means Late Spring hit me harder... OK.. I give in Late Spring is #1, Tokyo Story is #2... I want to see the others. Where can I get them?
the last scene is devastingly beautiful and will life in my mind forever. Also, they forgot to mention that the release includes Wim Wenders documentary Tokyo Ga.
It's always a toss-up for me. Late Spring or Ohayo? I can never make a decision. Love how tender Late Spring is but I love the light-hearted joy of Ohayo. They display both sides of his incredible talent and make the perfect double feature.
I left Tokyo Story running day and night in my room for 5 days. How did Ozu di it I wondered... Then I watched Late Spring. I could only watch it once.. but will never forget a single frame...
I needed a history class in eastern culture in order to graduate so I just picked Japanese history cuz whatever. Anyways, I barely put in effort and just skimmed through the readings and ended up seeing this movie mentioned in a section about culture. Liking movies, I thought “eh let’s see what it’s about”. I gotta say, wow..,just wow..,how could I have slept on Ozu’s talent. His movies are amazing and that’s coming from a guy who hates over the top 40’s, 50’s acting. (Idk, I just think it’s cringy)
I remember watching Wedding Crashers and wondering why on earth Ozu popped into my head. The bike scene in Wedding Crashers had to have been at least partially inspired by the one here.
I just watched a video talking about the film's many veiled references to the presence of the West in Japan. Nietzsche is of course an iconic figure representing certain key values associated w the West - look how Dostoevsky uses him - this observation you make might potentially make the film even more devastating - why? because the father is reading Zarathustra at the same time that he's sacrificing his daughter's and his own individual happiness for the sake (to a large extent) of tradition - it underlines his own deeply divided feelings about this, which he's been repressing, and which we see finally emerge fully in the film's final moments w the apple - your point about the book makes me wonder how conscious the father was about agreeing w his daughter - that they should just trust their own happiness in their arrangement instead of bowing to the social codes - looked at this way, the presence of the book is a tiny wry detail that may nevertheless serve to deepen the tragedy of the film
This film destroyed me. It feels even worse knowing that Setsuko Hara passed away just recently. I love this feeling of destruction and anguish that I get from Late Spring because it shows how greatly Ozu cared about and loved his characters and their stories. I love this and I love Ozu.
You said it perfectly Isaac. I don't know if you know this but Setsuko guarded her privacy very carefully. Nevertheless, I was making plans to go see her with a Japanese friend when she died. .. Heartbreaking for me.
It destroyed me also. I saw it after seeing "Tokyo Story" and I didn't think I'd see another film like that one. "Late Spring" is my favourite Ozu movie. What an artist. I too love Yasuijirō Ozu
I love this film so much because it’s like a beautiful tragedy. In the beginning, Noriko is very smiley all the time (even through tough conversations) and we get the idea that she doesn’t think about hard subjects and only cares for her father’s well-being all the time. Then, it gets planted in her head that she should “fly from the nest” and get married. Suddenly, she seems upset and it makes us upset too. She doesn’t want to leave her father behind, but she knows that it is time to think about herself for the first time. Then at the end Shukichi returns home alone for the first time and feels the pain. This is familial loss.
And Noriko came from a tough war experience, separated from her family...
Even watching these short clips made me emotional. What a master of subtle interactions.
The 4th reason: Setsuko Hara, of course. And her smile.
That smile was the most beautiful I’ve seen on screen. An indescribable joy watching her smile and absorb the emotions that envelops her.
A sad lament to familial love and loss, what a gem (and perhaps Ozu's best?)
I have seen it three times. The odd thing is that while watching the emotions never feel powerful, yet when I later think of the film it strikes me quite powerfully.
I watched this a couple weeks ago and could just not stop thinking about it. Every time I would look at something gorgeous in life my mind would trace off to this film. Absolutely masterful and Ozu has become one of my new favorite directors
When Setsuko says:"Onegai"...my heart breaks and the tears flow.
Not a single negative comment. Just shows how beloved this movie is.
such a beautiful film.. Bought a poster reproduction of it at the Amsterdam Film museum today. I love this film
this movie produces me a pleasant melancholy .....
Of all Ozu's films, this is the one I like the most. I think it's the one I like the most in all of the history of cinema.
Late Spring - I dare you not to shed a tear watching this one.
Are you kidding William? I can barely get through this clip...
@@dr.reidsheftalltruthinscie2007 Likewise
For me Late Spring is Yasujiro Ozu's shining jewel. It is the first film in the "Noriko trilogy" and it deals with post war Japan shortly after the occupation by American forces has ended and the modern Japan we know begins to emerge. At the same time long held societal and personal traditions still carry a great weight for people in their family lives.
Most westerners who enjoy this film are attracted to the simple story of a young woman's love and devotion for her father and their dilemma. They also talk in detail about Ozu's filming techniques and choices, which are wonderful of course, but I feel that after some study about Japanese history and culture, that Ozu did not really care if western audiences understood or "got" the film. Therefore he set out to make a truly Japanese film and story that is placed directly in its own time and place; Post war Japan 1949 and he would subliminally add traditions and philosophies that would only have meaning for the Japanese audience. You should know that from the end of the war until the end of occupation, all domestic films needed to be approved by the Americans and they might not approve any type of overt showing of these philosophies, many of which Japan’s new constitution made irrelevant.
So what makes this a traditional Japanese film? Three philosophies are firmly embedded in the movie. Without going too deeply into each, I will give an example and a quick definition on how it affects the story.
First, the concept of Mono No Aware, which is the “Embrace of impermanence” in our lives. Noriko cannot live in her desired situation with her father forever and knows that it must end even though she resists the idea, she does, in her own mind realize what must come to be. She does learn how to accept this through the course of the story, even though the lessons are difficult. Her father also accepts the impermanence of life in the very moving scene which closes the film.
Secondly, Ichigo Ichie, the concept of “One meeting, one lifetime” Noriko as she interacts with her father and others in the film, begins to appreciate that moments in her life with others can never be repeated or replaced, that they are all unique and memorable. She must learn to appreciate them as such. In a wonderful scene where they attend a Japanese theater, the play itself is heavily influenced by this concept. Noriko for her part must learn to use this so she can accept the impermanence and changes that will occur in her life.
Finally the concept of Ma, the philosophy of “The space in between”. It is sometimes physical space (as in architecture or living space design), emotional space or spiritual. It is an empty space where divine energy is shared and for the purpose of this film, understanding and appreciation are found. The scene that absolutely shows this is the famous “Vase scene”, where Noriko and her father are talking while preparing for sleep and Ozu cuts to a still shot of a vase before a window with the shadow of leaves. It is a very quiet and peaceful shot and to drive the point home he cuts to it twice, which almost never did in any other film. This use of Ma is not spelled out so as to move the plot, rather Ozu inserts it so that the audience can pause and choose its own interpretation of the scene and the thoughts of Noriko as she feels the imminent circumstances that are about to change her life forever.
This is such a brilliant film and Ozu uses such a light touch to also remark on the condition of the post war society and the effects of the occupation. He truly allows his audience to experience the lives of the characters and decide on their own what feelings the story will invoke.
It used to make me quite sad that Noriko and her father would be separated, but now when I watch it I feel a sense of her finding and making the best of her new life. I even imagine a relationship she will have with her own children and what a wonderful mother she will be.
And so in the best Ozu tradition, Life goes on.
im tearing up just thinking about the premiseGreat movie!!
A truly beautiful film.
the greatest Japanese movie of all time.
"Japanese " Gary? Perhaps the greatest movie period... Tokyo Story is also top five of all time . But the scene where Setsuko and her father are packing together is simply cinematic perfection...
Reid Sheftall I don't disagree with you Reid it's at my number two in my all time favourite movies. And it could move up to number one in the future it's just behind in the mood for love for me but not by much and it could move up to my number one in the future. I do think it's better than Tokyo story. Early summer is also an incredible film and I prefer it over Tokyo story. Tokyo story is in my top 10.
Exactly Gary.. What a painful decision we have ; to decide which of these MASTERPIECES is the greatest work of all time.. "painful".. (sarcasm intended...)
Reid Sheftall well late spring is the best for me, Then early summer and Tokyo story third. He's made many other masterpieces such as Tokyo twilight, good morning, Equinox flower, the munekata sisters, late autumn and an Autumn afternoon to name a few.
Will you think I am a cop out if I say Tokyo Story and Late Spring are in a tie.. When I saw TS, I left it running over and over in my room for a week. But i could only watch Late Spring once... Maybe that means Late Spring hit me harder... OK.. I give in Late Spring is #1, Tokyo Story is #2... I want to see the others. Where can I get them?
the last scene is devastingly beautiful and will life in my mind forever. Also, they forgot to mention that the release includes Wim Wenders documentary Tokyo Ga.
Best movie EVER.
My favorite movie.
Love this film.
amazing film. very powerful. best ozu film in my opinion.
It's always a toss-up for me. Late Spring or Ohayo? I can never make a decision. Love how tender Late Spring is but I love the light-hearted joy of Ohayo. They display both sides of his incredible talent and make the perfect double feature.
Awesome... Looks astonishing!! Need..Bluray..now!
Maybe I should watch Tokyo Story again, but I think this is my favorite Ozu movies. So sad :*(
This is definitely better than Tokyo story in my opinion. A perfect movie.
I left Tokyo Story running day and night in my room for 5 days. How did Ozu di it I wondered... Then I watched Late Spring. I could only watch it once.. but will never forget a single frame...
I needed a history class in eastern culture in order to graduate so I just picked Japanese history cuz whatever. Anyways, I barely put in effort and just skimmed through the readings and ended up seeing this movie mentioned in a section about culture. Liking movies, I thought “eh let’s see what it’s about”. I gotta say, wow..,just wow..,how could I have slept on Ozu’s talent. His movies are amazing and that’s coming from a guy who hates over the top 40’s, 50’s acting. (Idk, I just think it’s cringy)
I remember watching Wedding Crashers and wondering why on earth Ozu popped into my head. The bike scene in Wedding Crashers had to have been at least partially inspired by the one here.
Just watched and loved I did notice in the return from Kyoto scene while packing his bag Ryu had been reading Thus Spoke Zarathustra
Any thoughts?
I just watched a video talking about the film's many veiled references to the presence of the West in Japan. Nietzsche is of course an iconic figure representing certain key values associated w the West - look how Dostoevsky uses him
- this observation you make might potentially make the film even more devastating - why? because the father is reading Zarathustra at the same time that he's sacrificing his daughter's and his own individual happiness for the sake (to a large extent) of tradition
- it underlines his own deeply divided feelings about this, which he's been repressing, and which we see finally emerge fully in the film's final moments w the apple
- your point about the book makes me wonder how conscious the father was about agreeing w his daughter - that they should just trust their own happiness in their arrangement instead of bowing to the social codes
- looked at this way, the presence of the book is a tiny wry detail that may nevertheless serve to deepen the tragedy of the film
Good movie
The best.
I'm sick of seeing academy ratio in the wrong ratio .To quote some upstart,"How dare you!"
Kojima brought me here
Too late for me... T.T