What I enjoyed the most about this film is how the commonplace salutations were depicted as both useful and useless, a 'social lubricant' that holds together our complex characters. The children, from their lack of experience, obviously could not understand the reason behind the idle talk of the adults and had the simplest intention to protest in silence when their parents refused to buy them a television set. The neighbouring housewives, disconcerted by a vanished due, blamed each other through indirect speech and misinterpreted the children's silence as further malice from the family in order to satisfy their own gossipy nature. The children's English teacher and their aunt, interested in one another, chose to use the same sort of greetings as a way to delicately express and decode their mutual love.The fart jokes and the commonly used 'I love you' of Isamu were the linguistic instruments, the small talk of the children, which proleptically hints at a change in attitude and serve as a way to communicate a youthful innocence. The beauty and redundancy of our ordinary language was mirrored in this film, providing us with an gentle introspection into our day-to-day lives. This is the first Ozu film that I have seen and I'm definitely drawn to watch more now; I love his compositional geometries , his narrative and how he subtly speaks his genius.providing us with an gentle introspection into our day-to-day lives. This is the first Ozu film that I have seen and I'm definitely drawn to watch more now; I love his compositional geometries, his narrative and how he subtly speaks his genius.providing us with an gentle introspection into our day-to-day lives. This is the first Ozu film that I have seen and I'm definitely drawn to watch more now; I love his compositional geometries, his narrative and how he subtly speaks his genius.
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