"Late Spring" - my thousandth film, dedicated to Yasujiro Ozu, very good! Very satisfied!
1. A beautiful interpretation of the father-daughter relationship in the world. The understanding and redemption of father and daughter from dependence to separation is wonderful! The completion of a complete character arc does not require any hoarseness at all, and the chatter and laughter will be ashes, and there is really your Ozu!
Those jumping off the building and hoarse voices are really inferior, and it is only in the light of the wind that Ozu sees the real chapter.
2. The daughter must be married, and the ending must conform to the norms of the human universe. Facing and overcoming this hurdle is the right choice for reconciliation and redemption. To live with my father forever is to stay where we are.
3. The gap between the stories in the film will always inadvertently show the historical landscape of Japan, groups of elementary school students and daily courtesy. This is Ozu's nationality. This story continues to take place in every corner of the world, but the unique national character makes the film unique.
4. Excellent films can always make us think of the most important people around us and be tolerant. I think that's what the movie is about.
5. If it is shot by others, it is a single story. When Otsu comes to shoot, it feels like the representative story of the whole world. It is amazing.
6. At the time of separation, there was no time to experience it, but after quieting down, the tide of emotion came, and Ozu captured this.
Ozu has been devoted to exploring the relationship of love and pull between families, parents and children, and siblings.
There is a play, which is responsible for raising the overall artistic temperament of the film and showing the characters.
Describe the post-war reconstruction ecology, with a sense of depth.
It's rare to see Hara Setsuko angry.
Ozu likes to leave an exquisite still life shot after a scene, with delicate literature and art.
The sound of the violin that appears from time to time adds a touch of desolation to the dull picture.
The marriage partner does not need to show up at all. This is a role that does not appear more than appears, and the arrangement is very reasonable.
The conversation between the two professors about the "daughter" was very in-depth, with some philosophy of life. There must be such a conversation at the end of the movie.
"I never gave way to you, but now your husband will." Planting ahead, harvesting later.
"It's a wrong idea to expect sudden happiness. Happiness is something you have to wait for and create it yourself."
Regarding drinking, the settings of Hara Setsuko and girlfriends are completely opposite.
Ozu's works have always been elegant and timeless in style, which makes people feel unforgettable after reading them. Ozu's most representative low-position photography method, golden section setting method, surreal black and white contrast and other unique artistic features are fully expressed in this work.
The best thing to see is the helpless and faint resentment after the inner transformation.
How strong this love is, how lonely the father's back is in the end.
Ozu's problem is actually a problem that human beings must face in the end. It is not only a human feeling, so light that it can be ignored, but also a most human feeling, so heavy that there is never an answer.
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