-
Rosendo 2022-03-24 09:03:46
late spring
Is the oriental aesthetics shown in Late Spring constructed by the morbidity of East Asian families? It is true that the East Asian family is a very vague concept, but I think Chinese audiences should not be unfamiliar with part of the way Noriko and her father get along.
I don't think Noriko is...
-
Lura 2022-03-23 09:03:28
Ozu Yasujiro's Philosophical Thinking
"Late Spring" is a work directed by Japanese film master Yasujiro Ozu, which was released in 1949. Fans who often watch Yasujiro Ozu's films are really familiar with Ozu's film lineup. Yasujiro Ozu's portrayal of family movies is absolutely unparalleled, and he can be said to be an authority on...

Yumeji Tsukioka
-
Godfrey 2022-03-27 09:01:21
A simple and direct film, which uses a large amount of space to talk about daily trivial matters and the relationship between father and daughter.
-
Braeden 2022-03-17 09:01:10
7/10. If the huge Coke billboard passed by Noriko and her young partner on a bicycle symbolizes American cultural influence, then the tea ceremony, the attic, and the ancient temple in the aerial shot are the gazes of the beauty of Japan, and the vicissitudes of life of the father sitting in the scene of the pre-wedding trip. Crossing the courtyard consisting of white sand and stones, the image of the ocean waves at the end expresses a kind of quiet old age mood; the Noh drama is the climax of the Electra complex, and Noriko looked at her twice and nodded to her lover The father, bowed his head silently jealous, the empty scene of the wind blowing withered leaves, and the rhythm of dancing slowly on the stage with a mask revealing Noriko's jealous tumbling. And the door, finally the best friend opened the door, the clock rang, the world symbolizing the harmony between father and daughter was intruded, and after taking the luggage and leaving, we had to go around the room to see what memories of my father were left; Noriko's coquettish willfulness is given by patriarchal power. Power, Noriko is entangled like his wife's heir and wants to grow old with his father. This must be said to be a kind of sadness and cruelty. If the story tells about the life of two wives coquettishly accompany, then the role of Hara Setsuko is not very surprising.
Related articles
-
Shukichi Somiya: The last time I went to Kodai Temple, the bush clover was splendid.
-
Jo Onodera: It's good she's finally marrying. She'll make a good wife, no doubt about it.
Shukichi Somiya: Better to have a son, though. It's pointless to have a daughter. You raise them and then off they go. If they're unwed, you worry. Yet if they do marry, you feel let down.
Jo Onodera: But didn't we marry other men's daughters?
Shukichi Somiya: You have a point.
[both laugh]