A young salary man and his wife struggle within the confines of their passionless relationship while he has an extramarital affair.
A young salary man and his wife struggle within the confines of their passionless relationship while he has an extramarital affair.
Chikage Awashima Ryō Ikebe Takako Fujino Daisuke Katō Keiko Kishi Kuniko Miyake Chishū Ryū Haruko Sugimura Teiji Takahashi Masami Taura Eijirō Tōno Kumeko Urabe Sō Yamamura Kōji Mitsui Fujio Suga Haruo Tanaka Chieko Nakakita Kazuko Yamamoto Tatsuo Nagai Keijirô Morozumi Nobuo Nakamura Seiji Miyaguchi Teruko Nagaoka Junji Masuda Tsûsai Sugawara Zen Murase Nobu Kawaguchi Hiroko Sugita Norikazu Takeda Show All…
Primavera temprana, Sôshun, Ранняя весна, Früher Frühling, Printemps précoce
Essentially the last of Ozu's marriage-related films (as in films about couples), Early Spring is among the finest I have seen in this sub-genre. Few films have better articulated the minutiae of a slowly eroding marriage, and even fewer have been expansive enough to simultaneously include the realities of the world beyond it—in this case the mundane nature of workplace life—in order to depict its reciprocal effects. At times the film plays like a a more exhaustive version of Naruse's remarkable 1951 effort Repast, not to mention his other similarly-themed films of the early-Fifties. Ozu goes even further by contrasting a salaryman's life with that of those who are self-employed, but without offering a solution because there is none. Though…
Often the problem with critiquing white collar culture is that it emphasizes the drudgery of the actual work and the inhumane treatment of employees without analyzing in depth how the details of the company matter. Here, we have a worker pushing paper in some sort of brick company, a company driven by capitalist desires, and the sense we get of his disconnection is rooted in the systems of the office and his life outside. The film layers in how the company's function--to make money--is where these systems derive. It's just there, haunting the atmosphere, draining the souls of those trapped in it, but never stating it explicitly.
Ozu sees no happy ending; the wistful dreams teased at the end are…
Conquering Ozu's seasons-related English international titles
"The life of the flower is very short. That is why it should be appreciated immediately."
Such was the lesson that we learned through Mikio Naruse's 1955 postwar portrayal of a failed relationship because of two drastically contrasting souls, each one subdued to their respective irrational impulses. Ozu masterfully dissects a dying marriage affected by the disaster of an extramarital affair against the backdrop of a torn post-war Japan and its capitalist facet with a resulting industralization phase. Like a direct response to Naruse's statement with a stronger emphasis on capitalism influences and a strong commentary against the "loneliness and disillusion" caused by a salaryman's life that realizes that life is void and disappointing,…
You'll notice in Ozu films that any time a character is in an office they hardly ever work. Maybe they write a few things down, but usually they are looking off into space or are on screen only long enough for someone to come in and start talking to them. Early Spring is a movie entirely about an office worker and his colleagues, yet somehow all of them are shown far more out of the office—on a hike by the beach in a setting reminiscent of the famous bicycle scene in Late Spring, drinking at bars, or playing mahjong—than in one.
This is one of Ozu's bleakest films—in some ways like its predecessor, Tokyo Story. However, in Tokyo Story the…
With films like Early Summer and Tokyo Story preceding it, Early Spring was not Yasujiro Ozu's best film to date. I don't think that's a controversial opinion. What I will say about Early Spring however is that it might have been, up to that point in Ozu's career, his most scathing and his most complex. This only makes it so much more satisfying when Ozu takes a step back and shows how small everything is from a distance, as he so often does. It isn't to detract from his characters and their conflicts, but rather to paint an atmosphere of stillness, one that's painfully or perhaps beautifully unaffected by the drama within it.
This may also be Ozu's greatest use…
Yasujirō Ozu builds on a simple premise, the life of an efficient young employee, to talk about post-war japanese society. It is a society that is rapidly modernising, in which the influence of the west is increasingly present but behind the apparent prosperity, the wounds of war are still palpable and a strong social change has already began to take shape. Shoji Sugiyama is an office worker in Tokyo whom we accompany in his daily life; we observe the distant relationship with his wife, his routinary job, and the emergence of a fleeting romance with a colleague, with the imposing and cold city as the backdrop in which the duty is imposed over happiness.
Sōshun portrays the dissatisfaction of the…
Another Ozu masterpiece.
This time, he explores the idea of infidelity and the feelings that arise from such an act; jealousy, loneliness, anger, resentment, sadness, and forgiveness are but some of the emotions that are explored, as the viewer is seen how a man's breach of faithfulness affects those around him.
At the hands of a lesser director, the combination of a nearly-2.5 hour running time, lack of action, and lengthy dialogs might feel tedious, but here, it's obvious why Ozu is considered one of the greats. The leisurely pace, the choice of music, and long takes let the emotional weight of scene really take a hold of the viewer.
Maybe it's because I work in an office. I started out feeling a twinge of jealousy at the workers communing on the lawn, planning trips. But the more I watched. Connections, moments together are short. Being alone is very long. Everyone in the film is moving, leaving, passing through. And yet nothing really seems to change. The camera inching towards the end of the hall, the train crawling away. Three years is forever and nothing at all.
We could be in Tokyo tomorrow. But we won't be.
"Not exactly. But got to do something."
"I know. We're locked up all day. In our jail."
"Commuting in packed trains."
"Yes-yes-ing a grouchy boss."
"Salary never goes up."
"Bonus never comes out."
"Our sole joy, noodles. Eaten silently."
"The world today isn't very interesting. Everyone's dissatisfied." It's a perfect quote to summarize the monotony of postwar Japanese life, of salaried workers complaining about their lives, of marriages trapped in boredom, of finances difficult to pay, and where adultery is just another form of intoxication to ease the meaninglessness of life. Ozu returns to the impersonal toil of the salaryman struggling to reconcile his domestic life with his office life, a familiar device used in his 30s films to ruminate on the impacts of Westernization and industrialization on Japanese life. Here Ozu portrays "the pathos of the white-collar life," showing crowds of white-shirted workers pour out of trains and into office buildings like cogs in a wheel. It all…
*⃝ Story .5
*⃝ Design 1
*⃝ Score/Sound 1
*⃝ Acting 1
*⃝ Directing .5
*⃝ Cinematography .5
Yasujirō Ozu is out of Noriko territory and out of the happy go lucky landscape of the last few films to a couple that are a bit more of realists in the mundane blue collar work society, Ryō Ikebe as Shoji Sugiyama and his wife Masako Sugiyama played by actor Chikage Awashima.
I'm enjoying the more adult narrative in an affair within the workplace when all of the films prior have been about establishing home and family. It opens up his discussion on the confinements of marriage, Ozu himself was never married in real life.
Ozu once again…
“The world today isn’t very interesting. Everyone’s dissatisfied.”
A precise and deeply personal film that looks both at tradition and modernisation and the balance between the two in a post-war torn Japan.
Ozu’s greatest message is perhaps that mistakes aren’t irreversible and because of that, it quickly turns from being a film of despair to a film of forgiveness.
Again, family values (a common theme of Ozu) is at Early Spring’s heart and guides the story throughout. The acting is impeccable and cinematography superb and masterful as always.
À chacun de ses films, j’ai envie de lui faire une déclaration, de lui écrire un poème, un haïku, et de lui servir le saké pendant des heures...
Ici, Ozu aborde l’adultère à travers un rythme assez différent du reste de ses films. Mais ce qui m’impressionne (à chacun de ses films, disons période après-guerre), c’est aussi la composition de ses plans, son utilisation du 50mm, sa discipline... en fait, que ce soit en littérature ou en cinéma, j’admire ceux qui ont cherché/trouvé et affiné leur style, leur grammaire personnelle... Par exemple, quelqu’un comme Thomas Bernhard, ouvrez un livre à n’importe quelle page, et en une phrase ou deux, on devine tout de suite que c’est lui. Ozu, c’est pareil. En quelques images, on devine que c’est Ozu. C’est une chose qui m’éblouit. Je connais peu de cinéastes, même parmi les plus grands, qui en sont capables, qui ont atteint cela.
Sugi doesn’t deserve Masako. But I liked this movie as much as I did because of the way Chikage Awashima played her response to the scenario. And because of the way Keiko Kishi made a stereotypical character human.
When you watch Ozu, you watch a master at work. Even when layered with jokes or lighthearted material, it’s still taken very seriously.
More of the same from Ozu. Neither his best nor his worst.
Maratona Ozu Filme #9
Talvez o filme do diretor com a visão mais cética em relação às fundações do mundo moderno: o casamento e o trabalho. Essas instituições que fizeram toda a vida urbana de construir em volta aparecem em Early Spring como fadadas ao fracasso e ao sofrimento. E a vida humana que gira toda em volta desses alicerces aparece como algo vazio sem significado. Uma caminhada sem fim que parece nos levar a lugar nenhum. Um trem que anda anda, solta fumaça, mata, destrói, mas nunca chega no seu destino. E assim a gente morre sem saber pra quê tudo isso.
As a means of escaping his boring job and faltering marriage, a salaryman gets involved with a young colleague. It's a mistake of course and the one he realizes pretty fast.
This is Ozu examining the life of salarymen in post-war Japan. The office work with steady pay, job security, bonuses, and promotions often seems like a dream job from the outside (to his war buddies), but it is far from it: the pay is minuscule, they can be fired at any time, the bonuses are a long time in coming and there are many people competing for promotion. The work itself is boring and monotonous leading to job dissatisfaction. Life doesn't amount to much after a lifetime spent in…
I’m getting confused with these titles. Have I seen this already?
Anyway, Early Spring is pretty good. Unfortunate to say this after such a good run of masterpieces. This one returns to the ideals of some of Ozu’s 1930’s films, about the struggling worker and the difficulty of reconciling office with home. I like this approach, but for some reason it feels much less human than his late-40s/early-50s films. As always, I admire his formal rigor, but this wasn’t the best of times - doesn’t help that the movie is 144 minutes long.
Almost done with the B&W films!
Too tired to be able to get into this slow crawl of a film. Made my Gertrude (1964) viewing from last week feel riveting.
Ozu, who I respect as being slow and still and meditative, made a film that feels intentionally boring. I am sorry to anyone that loves this film, it just wasn't working for me.
I stopped watching it around the 2 hour mark because I decided I would rather have an easier start to my work day than finish the film, then I tried to watch the last 30 minutes and just couldn't finish it.
art aesthetic: 3.5/4
story telling: 3/4
theme exploring: 3.5/4
My twelfth ozu movie! My fave director continues to not disappoint
Un autre très bon film de Yasujirō Ozu. Il traite de nouveau de sujets existentiels, des relations hommes-femmes, jeunes-vieux et de l’amitié, mais il ajoute le thème des relations extraconjugales. Le rôle principal est bien tenu par Ryō Ikebe, mais ce sont surtout les deux femmes, Chikage Awashima et Keiko Kishi (dont j’ai fait l’agréable découverte avec ce film), qui s’illustrent.
Vu sur Criterion Channel.
This review may contain spoilers. I can handle the truth.
A lot of the Ozu films I have seen are about the moments preceding marriage. In Early Spring, the main characters are already married and typically to Ozu, married life doesn't equal happy life. In fact, Shoji's and his wife's relationship seems to be so relentlessly cold that it's difficult to believe they were ever in love.
The film portrays married life but also the life of a white-collar salaryman. Shoji's life seems to be rather boring and monotonous: the film opens on him and her wife Masako waking up and going through the routines they go through everyday. A hiking trip with fellow workers proves to be a necessary diversion from the mundanity of life and almost feels like…
There's this brutal realism to Yasujiro Ozu's 1956 film, Early Spring, that I haven't seen much of in other films. It essentially plays out like a few weeks in the life of a Japanese community. Yes the crux of the film is about infidelity and a loveless marriage but there is so much going on. Everything unfolds so naturally, the film isn't overly focused on the infidelity plot to the point where it feels superficial nor does it put it on the backburner.
There's this hypnosis to how Ozu has shot this film. The camera is very static and motionless, the light pours through the windows, the characters walk, the shadows form, It all feels so hypnotic. The way the…
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