DVD
Ozu Collection
Volume 4

Starring: Setsuko Hara, Yoko Tsukasa, Mariko Okada, Keiji Sada and Miyuki Kuwano
Tartan Video
RRP: £29.99
TVD3702
Certificate: PG
Available 29 January 2007


This set represents the fourth released set of Yasujiro Ozu's (1903-1963) Japanese films and contains Late Autumn (1960) and his last film An Early Autumn (1962). Both films explore the usual Ozu themes of tradition verses modernity, families and the changes that age brings. It is for this reason that many of his film titles refer to the changing seasons of the year.

In Late Autumn (Akibiyori) a widow, Akiko Miwa (Setsuko Hara), is feeling guilty that her daughter, Ayako (Yoko Tsukasa), is stuck at home, so she determines to find her a partner, even though the girl will not contemplate leaving her mother all alone. In order to break this impasse Akiko's dead husband's friends decide to find a partner for her as well...

On the face of it you might be excused for not believing me when I say that this is one of Ozu's funniest films and therefore one of his most accessible for a western audience. The film is best described as a gentle comedy of marriage and manners. Thematically, we are defiantly in Ozu land. The film opens with a memorial service for Akiko's late husband and closes with a wedding; you can almost hear Elton John singing Circle of Life in the background. The three friends of the dead man are all in love with Akiko, though, two are already married, so it falls to Hiriyama to woo the widow so that the daughter can move on. Problem is, they fail to mention this brilliant plan to Akiko herself.

Although, more light-hearted than some of his previous films which explored the same dilemma, this in no way lessens Ozu's power as a director and story teller. Visually, the film is a delight, with the lush tones of the Agfacolour bringing out the best in the beautifully composed shots, in soft autumnal tones. Balance is an important part of Ozu's style - whether it is the balance between the actors and the set or the balance within the narrative.

For some who are not used to his style of film making some of the elements may be a little jarring. Although Ozu was initially influenced by the American films of his youth, it was an influence which in later life he would distance himself from, he quickly moved away from the general rules of Hollywood movie making. Without the benefit of any formal training in film making - he started making films when it was still not seen as a proper job, much to the disappointment of his family - Ozu evolved his own peculiar style which owed little to either American directors or his own Japanese contemporaries.

Often, scenes which would have forwarded the narrative, and would have been shown in a western film, are either spoken about later or happen off screen. Ozu is interested in the deeply personal lives and feelings of his characters and often tries to show those quite contemplative moments which are so fleeting in modern life.

As mentioned before, the film is a visual treat. The disc comes with the original Japanese stereo track and a theatrical trailer.

Disc two contains Ozu's last film An Early Autumn (1962). This disc is also presented in its original aspect ratio with a Japanese stereo track, and subtitles. The disc also contains the original theatrical trailer.

In An Early Autumn, widower Shuhei Hirayama (Chishu Ryu), lives with his unmarried daughter Michiko (Shima Iwashita) and son Kazuo (Shinchiro Mikami). Although his daughter is of marriageable age, her father seems relatively unaware of the situation, nor does Michiko do anything about it. Events and perspectives change when Shuhei meets up with an old respected teacher who is now a drunk and making his living selling noodles. His drinking, which mirrors Shuhei's own increasing consumption, and his old teachers reliance on his daughter makes Shuhei re-evaluate his own position with his daughter and determines that she should have a marriage of her own...

Although, the themes of domesticity are similar to Late Autumn, it would be disingenuous to accuse Ozu of repeatedly making the same film. This would be akin to accusing Hitchcock of only making thrillers, or Chaplin of only making comedies. These are films with their own individual voices when looking at the generational differences.

Like all of his movies these films are beautifully shot and well worth a couple of hours of any real film fans time.

Charles Packer

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