Review of Late Spring (1949) by Zack B — 08 Nov 2012
Ozu is usually a monumental bore for me. Is it because I'm American? Well, I love the films of Kurosawa, although many would argue that he's more Westernized then most Japanese filmmakers, and I can see the point.
But what about Mizoguchi? Ugetsu is one of my favorite Japanese films. And Onibaba by Shindo and ESPECIALLY Harakiri by Kobayashi. Ozu's films are just as restrained as you can get. He uses static shots constantly.
He has a distinctive style, but it's not all that exciting to me. Nevertheless, some of his films do have an emotional power to them, and Late Spring is one of them. For the first 45 minutes I was ready to tune out, feeling like I was in store for the same ol', same ol' when suddenly Somiya takes his daughter Noriko to the theater.
For the entire start of the film, Noriko has this big, almost frighteningly intelligent grin on her face. When they go to the theater, the grin finally dissipates and she hangs her head. She knows she must move on and away from her father.
It's a poignant moment and from then on I was intrigued and moved. This is one of Ozu's best.
This review of Late Spring (1949) was written by Zack B on 08 Nov 2012.
Late Spring has generally received very positive reviews.
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