Late Spring (1949) Full Movie
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Late Spring (1949)
Noriko is perfectly happy living at home with her widowed father, Shukichi, and has no plans to marry -- that is, until her aunt Masa convinces Shukichi that unless he marries off his 27-year-old daughter soon, she will likely remain alone for the rest of her life. When Noriko resists Masa's matchmaking, Shukichi is forced to deceive his daughter and sacrifice his own happiness to do what he believes is right.
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5 Comments
Elena . 30 Apr 2007
With elegance, minimalism, subtlety and intensity, Yasujiro conceived an epic of the everyday, in which everyday events are studied with the same concentration as is accorded to epic events. Yasujiro studies with an almost Zen patience the flow of small things in time. The film contrasts the rapid cultural change as the newer generation was becoming Americanized, with the slow endlessness of classical Japanese life. Between wars and cultural shifts, the everyday still remains the chief domain of art. Yasujiro makes space, and especially the characters' home a character in its own right, with its moods, subtlety and meaning. The rooms add dramatic meaning to the characters' slow progression. Space is well defined, and the contained spaces of the rooms come together in an organic synergy that completes the characters' states of mind.
Michael L 02 Jun 2007
just finished up an Ozu Marathon: A Story Of Floating Weeds (1934), Late Spring (1949), Early Summer (1951), Tokyo Story (1953), Floating Weeds (1959 which was a remake of A Story Of Floating Weeds), and Good Morning (1959). Watching a film by Yasujiro Ozu is like being invited into a Japanese home, and siting and watching life unfold. The common thread to all of Ozu's films is the importance of family. Every film is about family, and even though he is always the optimist, Ozu is able to retell theses stories without an once of cliche or manipulation. There is absolutely no camera movement. No dolly, no pans, no tilts, and yet his composition of each shot keeps you eyes glued to the screen.
Rob S 04 Jun 2007
One of the best Japanese films I've seen, Ozu is godlike in this story about an aged accountant whose daughter wants to marry. Ozu makes life incredibly bright and nostalgic; black and white or not, his use of contrast and cinematography is wonderful. I highly recommend this.
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