結婚に気乗り薄な娘に対し、父がちょっとした芝居を打って、結婚するように仕向ける話。1行で説明するならそうなる。
小津映画というと、父と娘の結婚噺でいつも同じ内容、ハイソな家庭の小さなすれ違い、みたいな言われ方をされがち。否定はしきれないものの、実際に小津がやろうとしたことは題材がどうかが重要なのではなく、その中で表現できる寸劇をいかに多彩で面白く、最終的にはそれらが全部つながって結末に至る作り方を追求しているように思える。
映画は細かなシーンの繋ぎ合せでできているのだから、各シーンの内容を充実させれば面白い(複合的な意味を含むが)ものになるのは当たり前。小津はそれをひたすら追求してきた監督だと思う。
ところでこの作品では、珍しく父が嫁に行く娘に穏やかな長めの説教をする場面がある。他の作品ではあまり見ない展開なのだが、そういえば『東京物語』でも未亡人となった義理の娘(つまり、死んだ息子の妻)に再婚を勧める長めの説教がある。どちらも相手は原節子なのだ。小津監督と原との関係をちょっと想像してみた
りして…。
晩春 [DVD] COS-021
仕様 | 価格 | 新品 | 中古品 |
今すぐ観る | レンタル | 購入 |
フォーマット | ブラック&ホワイト |
コントリビュータ | 杉村春子, 青木放屁, 小津安二郎, 坪内美子, 三宅邦子, 原節子, 笠智衆, 宇佐美淳, 月丘夢路, 三島雅夫, 桂木洋子 |
稼働時間 | 1 時間 48 分 |
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商品の説明
「東京物語」と並ぶ小津安二郎監督の代表作で、結婚をめぐる父親と娘を題材にした感動作である。笠智衆と原節子の共演第一作で、鎌倉を舞台に、妻を早くして亡くした大学教授の父と、27歳になってもそんな父親を一人残して嫁に行く気にはなれない娘。そして二人のことが気が気でなく何かと世話を焼く叔母(杉村春子)。父と娘の親子愛を中心に、二人を取り巻く人々の人間模様を、小津監督独特の手法で、淡々と描きます。杉村春子のコミカルな演戯、月岡夢路のはつらつとした演戯、そして何といっても、原節子の表情の変化と笠智衆の渋さ、ラストシーンの父親の背中に全ての思いがこめられています。
登録情報
- メーカーにより製造中止になりました : いいえ
- 梱包サイズ : 18.03 x 13.76 x 1.48 cm; 83.16 g
- EAN : 4582297250413
- 監督 : 小津安二郎
- メディア形式 : ブラック&ホワイト
- 時間 : 1 時間 48 分
- 発売日 : 2007/8/20
- 出演 : 笠智衆, 原節子, 月丘夢路, 杉村春子, 青木放屁
- 販売元 : Cosmo Contents
- ASIN : B000VRRD16
- ディスク枚数 : 1
- Amazon 売れ筋ランキング: - 134,436位DVD (DVDの売れ筋ランキングを見る)
- - 6,270位日本のドラマ映画
- カスタマーレビュー:
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小津監督が初めて原節子と組んだ本作。
母親の早逝によって父(笠智衆)の面倒を見続けてきた娘(原節子)は、父と2人の生活を満喫しており27歳になっても未だに独り者。
いつまで経っても父親になつく子供の様な娘の将来を案じる父。
行く末を心配した父が見合い相手を探しあれこれ画策するが、その度に衝突が生じ、娘は父に反発するようになる。
しかし、娘の幸せを案じ、心から説得する事によって無事縁談は成立。
実は娘の嫁入りの為、わざと嫌われるように父は大芝居を打っていたのだった。
という内容です。
公開が1949年ですから戦後3年目に制作されたのでしょう。
なのでこの作品では「近代化した日本」そして「占領下の日本」をさりげなく小津は見せつけます。
道路にはコカコーラの英字看板や英字表記の道路標識が出てきます。
またこれまでの作品では小津作品には都会のロケーションは全くと言っていいほど出てきませんでしたが、本作品では当時の銀座の賑わいが窺い知れます。戦後たった3年でここまで復興していたとは驚きました。
小津監督が一貫してテーマとしている「家族愛」ですが、本作はちょっと変化球気味。
異色と言えばそうですが、飛躍しすぎの空回り感も否めません。
ただ、独特のカメラワークは健在。
GHQの検閲に配慮してか、能の観劇シーンや京都旅行などシーンもあり、映像美も堪能出来ます。
原節子はこれまでの日本女優の美観を覆すような、洋風美人ですね。この作品では特にそれが際立ってますし、若手女性キャストのメイクやスタイルも今に近い洋風。
全てがこのようだった訳では無いのでしょうが、戦争が終わってたった3年でこんなにも変わってしまうものなのですね。
母親の早逝によって父(笠智衆)の面倒を見続けてきた娘(原節子)は、父と2人の生活を満喫しており27歳になっても未だに独り者。
いつまで経っても父親になつく子供の様な娘の将来を案じる父。
行く末を心配した父が見合い相手を探しあれこれ画策するが、その度に衝突が生じ、娘は父に反発するようになる。
しかし、娘の幸せを案じ、心から説得する事によって無事縁談は成立。
実は娘の嫁入りの為、わざと嫌われるように父は大芝居を打っていたのだった。
という内容です。
公開が1949年ですから戦後3年目に制作されたのでしょう。
なのでこの作品では「近代化した日本」そして「占領下の日本」をさりげなく小津は見せつけます。
道路にはコカコーラの英字看板や英字表記の道路標識が出てきます。
またこれまでの作品では小津作品には都会のロケーションは全くと言っていいほど出てきませんでしたが、本作品では当時の銀座の賑わいが窺い知れます。戦後たった3年でここまで復興していたとは驚きました。
小津監督が一貫してテーマとしている「家族愛」ですが、本作はちょっと変化球気味。
異色と言えばそうですが、飛躍しすぎの空回り感も否めません。
ただ、独特のカメラワークは健在。
GHQの検閲に配慮してか、能の観劇シーンや京都旅行などシーンもあり、映像美も堪能出来ます。
原節子はこれまでの日本女優の美観を覆すような、洋風美人ですね。この作品では特にそれが際立ってますし、若手女性キャストのメイクやスタイルも今に近い洋風。
全てがこのようだった訳では無いのでしょうが、戦争が終わってたった3年でこんなにも変わってしまうものなのですね。
2024年1月19日に日本でレビュー済み
昭和二十四年完成の映画「晩春」より。小津安二郎監督。北鎌倉、茶湯の教室に原節子と杉村春子が並ぶ。庭では鶯の鳴き声がする。父親の大学教授の笠智衆が助手の宇佐美と机に向かい原稿を仕上げている。そこへ節子、明日東京へ行くという。電車に乗って2人は東京へ。銀座で三島に会った節子は買い物に付き合ってもらい、多喜川に寄る。夜、机に向かって新聞を読んでいた笠の処へ「ただいま」節子が三島を連れて帰ってきた。「やあ」「よう」節子は台所に立ち「もうすっかり元気だな、やっぱり戦争中無理に働かされたのがたたったんだねえ」「うん、あいつもそろそろ何とかしなくちゃ行けないんだがね」「7だね」「うん」翌日、一緒に七里ヶ浜へ行ったという節子に宇佐美のことをどう思うか聞いたところ、節子は笑ってもう婚約者がいるのよと言った。「そうか」笠のところに月丘夢路がやって来て、帰った節子と2階で同窓会の話をする。「もうあんたとひろ子さんだけよ、お嫁に行かないの」「そう」「いつ行くのよ、あんた」「行かないわよ」「行っちゃいなさいよ早く」「嫌よ」叔母の春子が見合い話を持ってくるが、節子にはその気がない。嫁に行ったら父が困るからだという。叔母は父の再婚相手に茶湯で知り合いの三宅邦子を推す。まんざらでもなかったと聞き、その後節子は父に冷たく当たる。父と娘が能の舞台を見ている。そこで邦子を見つけた父は会釈するが、娘の節子は複雑な思いで目を伏せている。父に遅れて帰った節子は、あさって見合いの相手に会ってくれないかと言われ、一端断るが父に世話を焼いてくれる人がいると聞かされ、2階の自分の部屋へ戻って泣く。1週間後、夢路の家で嬉しそうな節子が、結婚の話を聞かされる。相手は東大理科を出たゲーリー・クーパー似の人だと嬉しそうになる。叔母が節子に問い詰めて「行ってくれるの」「ええ」「そう本当ね、行ってくれるのね、ありがとう明日そうご返事するわよ」京都。三島に笠が「節子がねえ急にお嫁に行くことになって」「そう」「それでお別れに遊びに来たんだ」「そうかい、そりゃおめでとう、そりゃ良かった」清水寺奥の院で「おじさまー」と三島の娘、桂木洋子が手を振り、笠も手を振って応える。旅館の布団で「今日はずいぶん歩いたなあ、お前疲れなかったか」「いえ」「寝ようか」「ええ消しましょうか」「あゝ」娘の結婚の夜ひとり淋しくほゝえむ父親の老いたる姿、それはあたゝかい晩春の夜だった。結婚式の日「やあできたな」鏡台に写った文金高島田の娘を見て「じゃあそろそろ出かけようか」花嫁衣装の節子が三つ指ついて「お父さん長い間お世話になりました」「うん幸せに、いい奥さんになるんだよ」「ええ」「さあ行こうか」自動車の周りに子供が群がっていた。夜、多喜川で雪路と晩酌をしながら「じき慣れるさ」「奥さんをおもらいになるの」「でもああでも言わなきゃ、節子お嫁に行ってくれなかったんだよ」家に戻った笠はモーニングを脱ぎ、椅子に腰掛けため息をつくと、傍らにあった林檎の皮を途中まで剥いてうなだれた。七里ヶ浜の波が引き寄せていた。
2021年1月29日に日本でレビュー済み
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七十年前の時代にも好みの男前が居ました!
あらすじも読まずに視聴したので、なかなか話の内容が分からんかったけど、要は父依存の娘が結婚するまでの経緯を描いた物語ですね。
父娘の家を見て、「こういう風情のある家に生まれたかったなぁ」と思いました。
あんまり見応えのない展開やったけど、 四十年代映画ということで星満点。
あらすじも読まずに視聴したので、なかなか話の内容が分からんかったけど、要は父依存の娘が結婚するまでの経緯を描いた物語ですね。
父娘の家を見て、「こういう風情のある家に生まれたかったなぁ」と思いました。
あんまり見応えのない展開やったけど、 四十年代映画ということで星満点。
2016年3月28日に日本でレビュー済み
Amazonで購入
名画の一つだとは思いますが、リアリティー、生活感がないですね。
この映画が出来た頃は、まだ社会全体は貧しかったはずで、
この映画は当時数少ないアッパーミドルの家庭のドラマなのだと思います。
原節子演じる娘は「家事手伝い?花嫁修業中?」なのか、
自宅で執筆している「鎌倉文化人風?」の笠智衆ともども生活感がなく、
浮世離れしているような気がします。
彼女が結婚しないのは、父親が心配なのではなく、
ふわふわした「家事手伝い?花嫁修業中?」という楽なポジションからの
変化を望んでいないということなのかな、と思いました。
楽な状況に止まりたいアッパーミドル家庭のフリーターを、
周りが苦労して「結婚」という自立?に向かわせる「お話」です。
この映画が出来た頃は、まだ社会全体は貧しかったはずで、
この映画は当時数少ないアッパーミドルの家庭のドラマなのだと思います。
原節子演じる娘は「家事手伝い?花嫁修業中?」なのか、
自宅で執筆している「鎌倉文化人風?」の笠智衆ともども生活感がなく、
浮世離れしているような気がします。
彼女が結婚しないのは、父親が心配なのではなく、
ふわふわした「家事手伝い?花嫁修業中?」という楽なポジションからの
変化を望んでいないということなのかな、と思いました。
楽な状況に止まりたいアッパーミドル家庭のフリーターを、
周りが苦労して「結婚」という自立?に向かわせる「お話」です。
2016年1月30日に日本でレビュー済み
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昔の大女優、原節子さんが亡くなったというニュースをみて、恥ずかしながら原節子さんという女優を知らなかったので観てみたくなりました。
ええ、確かに噂どうりの上品な美人さんですね。
舞台が北鎌倉・鎌倉・片瀬海岸と自分の住むなじみの場所で且つ自分が生まれる前の情景が非常に興味をそそりました。北鎌倉駅も鎌倉駅も改修前を覚えていて懐かしいです。横須賀線が終戦直後はチョコレート色というのは知りませんでした。
ええ、確かに噂どうりの上品な美人さんですね。
舞台が北鎌倉・鎌倉・片瀬海岸と自分の住むなじみの場所で且つ自分が生まれる前の情景が非常に興味をそそりました。北鎌倉駅も鎌倉駅も改修前を覚えていて懐かしいです。横須賀線が終戦直後はチョコレート色というのは知りませんでした。
2020年5月9日に日本でレビュー済み
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Beautiful from beginning to end. Allows itself a sad ending.
2018年4月24日に日本でレビュー済み
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まさか レンタルビデオ屋さんの 使い古しを 買うことになるとは思わなかった。
こんなことなら、NHK-BSの デジタル リメイク版の 放送を待てばよかった。あ~ぁ。
こんなことなら、NHK-BSの デジタル リメイク版の 放送を待てばよかった。あ~ぁ。
他の国からのトップレビュー
IB
5つ星のうち5.0
A superb edition
2019年1月29日にカナダでレビュー済みAmazonで購入
This is a superb rendering in the usual Criterion style of this Ozu masterpiece of emotional nuance.
Highly recommended.
Highly recommended.
Charles
5つ星のうち5.0
Powerful and Penetrating
2016年4月26日にアメリカ合衆国でレビュー済みAmazonで購入
***Review Contains Spoilers***
After having seen and loving Tokyo Story, a film which is widely considered to be not only master Japanese filmmaker Yasujiro Ozu’s best film, but also one of the greatest films ever made, I was very eager to see more. Many consider Late Spring another of his absolute best works so it seemed like a logical next choice, and I can happily say that it most definitely met my very high expectations. As with Tokyo Story, this a deep, masterfully-executed and penetrating film examining family life in Japan and the societal and generational pressures which shape and mold it, for better or for worse.
As with Tokyo Story, we enter this tale of father, Shukichi Somiya, and daughter, Noriko Somiya, in the middle. 27-year-old Noriko lives together with her father and they appear to be very close. Naturally, questions begin to arise in the mind of the viewer: where is Noriko’s mother and why hasn’t she ever married? Ozu does a fantastic job of coaxing these questions out in the film’s early stages and gives us hints at what has transpired, but never spoon-feeds us by explicitly explaining the backstory. We learn that Noriko had been seriously ill at one point during a period of war and hardship, but has since recovered. Her mother is a mystery for much of the film, but it slowly becomes clear that she has died and that Shukichi is a widower. With this context, the film examines the father-daughter relationship between Noriko and Shukichi and the pressures on them both to have Noriko finally marry and “leave the nest”, so to speak.
The strength of this film (and Tokyo Story alike) is how subtly and effectively it tells this story. The screenplay and pacing of the film are phenomenal in slowly and carefully peeling back the layers of the family dynamic. Throughout the film we question the actions and underlying motivations of each of the characters. By the end, the full vision snaps into focus and we are left with a melancholy ending that really sneaks up and packs quite an emotional punch.
Let’s begin with Noriko. For the length of the movie she is adamantly against marriage, especially re-marriage. As the details of the backstory filter in, her reasoning begins to become clear. Noriko lost her mother which has obviously affected her very much. As a result, she is very close with her father and wary of leaving him behind. Her mother’s death obviously must have been very hard for her father as well, and she references the fact that he needs her to take care of him. She feels that she must be there for him because she fears he may be lonely if she leaves and won’t be able to cope as a widower. She is also understandably protective of her father – she is afraid to lose him like she did her mother. Thus, she can’t bear the thought of him ever remarrying which, in her mind, could potentially jeopardize their relationship. As the film progresses though, pressures on Noriko to get married come from all sides – her aunt, father, and best friend (and ironically, divorcée) all urging her that she must take this long overdue and necessary step. To her, the relationship she has with her father is more than enough and brings her contentment. However, she is made to feel like she is being selfish in staying home with him, especially when it is suggested that he wishes to remarry. Thus, she eventually gives into these pressures and marries at the end of the film, but is clearly devastated and unhappy with her choice.
Shukichi can be analyzed in the same way. He seems to be very happy with his daughter home and with the lives they are leading together. It isn’t until his sister, Masa, makes the observation that Noriko has gone far too long without marrying, that he begins to question things. He too begins to pressure Noriko that she must marry, and begins to insinuate that he wishes to remarry as well and that she need not worry about taking care of him. Many conversations seem to have taken place between Shukichi and Masa off-screen, as at the end of the movie it is revealed that Shukichi’s plans for remarriage were fabricated by both he and Masa in order to influence Noriko in her decision. Shukuchi feigns happiness at Noriko’s wedding (as does Noriko… quite poorly), but at the end of the film we see him return home to his empty house in a devastating scene where his true distress becomes apparent.
In this moment, the movie strikes a powerful note as we realize neither Noriko nor Shukichi wanted for this marriage to happen and neither are happy with the outcome. They were both made to feel selfish by others around them – Shukichi for keeping Noriko home so long with him and Noriko for keeping her father from remarrying. In reality, neither of these two things are true, but the characters are made to believe them through the pressures of their family and friends. Now, they find themselves in places that neither of them wanted or needed, but that society has deemed “correct” for them.
It’s a poignant and thoughtful tale which is marvelously achieved by the strength of spectacular direction and acting. Setsuko Hara is absolutely radiant and Noriko. She shines in every single scene and has such an effortless quality to her acting that makes her every move feel completely natural. There is quite a lot of subtlety to her performance as well, as Noriko constantly hides her true feelings behind a big smile and a pleasant demeanor. This subtlety and depth of performance extends to Chishû Ryû as Shukichi as well, who is equally brilliant as a caring father who is conflicted between keeping his daughter by his side and shooing her out the door to a more socially acceptable life.
And everything of course is tied together by Ozu’s absolutely masterful direction. He is able to frame his characters in such a respectful and gentle way that is never judgmental. And although this is a relatively sad story, it never feels like a condemnation of Japanese family values. Ozu’s strength is that he is able to simply present the story as it is, asserting that such is the nature of life and the pressures we all face. He doesn’t blame his characters or anyone else for the way things play out, he just ruminates on the existence of these family dynamics and their effect on the lives we lead. The end result is a powerful film that is deep, thought-provoking, and emotionally resonant.
After having seen and loving Tokyo Story, a film which is widely considered to be not only master Japanese filmmaker Yasujiro Ozu’s best film, but also one of the greatest films ever made, I was very eager to see more. Many consider Late Spring another of his absolute best works so it seemed like a logical next choice, and I can happily say that it most definitely met my very high expectations. As with Tokyo Story, this a deep, masterfully-executed and penetrating film examining family life in Japan and the societal and generational pressures which shape and mold it, for better or for worse.
As with Tokyo Story, we enter this tale of father, Shukichi Somiya, and daughter, Noriko Somiya, in the middle. 27-year-old Noriko lives together with her father and they appear to be very close. Naturally, questions begin to arise in the mind of the viewer: where is Noriko’s mother and why hasn’t she ever married? Ozu does a fantastic job of coaxing these questions out in the film’s early stages and gives us hints at what has transpired, but never spoon-feeds us by explicitly explaining the backstory. We learn that Noriko had been seriously ill at one point during a period of war and hardship, but has since recovered. Her mother is a mystery for much of the film, but it slowly becomes clear that she has died and that Shukichi is a widower. With this context, the film examines the father-daughter relationship between Noriko and Shukichi and the pressures on them both to have Noriko finally marry and “leave the nest”, so to speak.
The strength of this film (and Tokyo Story alike) is how subtly and effectively it tells this story. The screenplay and pacing of the film are phenomenal in slowly and carefully peeling back the layers of the family dynamic. Throughout the film we question the actions and underlying motivations of each of the characters. By the end, the full vision snaps into focus and we are left with a melancholy ending that really sneaks up and packs quite an emotional punch.
Let’s begin with Noriko. For the length of the movie she is adamantly against marriage, especially re-marriage. As the details of the backstory filter in, her reasoning begins to become clear. Noriko lost her mother which has obviously affected her very much. As a result, she is very close with her father and wary of leaving him behind. Her mother’s death obviously must have been very hard for her father as well, and she references the fact that he needs her to take care of him. She feels that she must be there for him because she fears he may be lonely if she leaves and won’t be able to cope as a widower. She is also understandably protective of her father – she is afraid to lose him like she did her mother. Thus, she can’t bear the thought of him ever remarrying which, in her mind, could potentially jeopardize their relationship. As the film progresses though, pressures on Noriko to get married come from all sides – her aunt, father, and best friend (and ironically, divorcée) all urging her that she must take this long overdue and necessary step. To her, the relationship she has with her father is more than enough and brings her contentment. However, she is made to feel like she is being selfish in staying home with him, especially when it is suggested that he wishes to remarry. Thus, she eventually gives into these pressures and marries at the end of the film, but is clearly devastated and unhappy with her choice.
Shukichi can be analyzed in the same way. He seems to be very happy with his daughter home and with the lives they are leading together. It isn’t until his sister, Masa, makes the observation that Noriko has gone far too long without marrying, that he begins to question things. He too begins to pressure Noriko that she must marry, and begins to insinuate that he wishes to remarry as well and that she need not worry about taking care of him. Many conversations seem to have taken place between Shukichi and Masa off-screen, as at the end of the movie it is revealed that Shukichi’s plans for remarriage were fabricated by both he and Masa in order to influence Noriko in her decision. Shukuchi feigns happiness at Noriko’s wedding (as does Noriko… quite poorly), but at the end of the film we see him return home to his empty house in a devastating scene where his true distress becomes apparent.
In this moment, the movie strikes a powerful note as we realize neither Noriko nor Shukichi wanted for this marriage to happen and neither are happy with the outcome. They were both made to feel selfish by others around them – Shukichi for keeping Noriko home so long with him and Noriko for keeping her father from remarrying. In reality, neither of these two things are true, but the characters are made to believe them through the pressures of their family and friends. Now, they find themselves in places that neither of them wanted or needed, but that society has deemed “correct” for them.
It’s a poignant and thoughtful tale which is marvelously achieved by the strength of spectacular direction and acting. Setsuko Hara is absolutely radiant and Noriko. She shines in every single scene and has such an effortless quality to her acting that makes her every move feel completely natural. There is quite a lot of subtlety to her performance as well, as Noriko constantly hides her true feelings behind a big smile and a pleasant demeanor. This subtlety and depth of performance extends to Chishû Ryû as Shukichi as well, who is equally brilliant as a caring father who is conflicted between keeping his daughter by his side and shooing her out the door to a more socially acceptable life.
And everything of course is tied together by Ozu’s absolutely masterful direction. He is able to frame his characters in such a respectful and gentle way that is never judgmental. And although this is a relatively sad story, it never feels like a condemnation of Japanese family values. Ozu’s strength is that he is able to simply present the story as it is, asserting that such is the nature of life and the pressures we all face. He doesn’t blame his characters or anyone else for the way things play out, he just ruminates on the existence of these family dynamics and their effect on the lives we lead. The end result is a powerful film that is deep, thought-provoking, and emotionally resonant.
Cagle
5つ星のうち5.0
Quiet and Beautifully Understated
2023年12月15日にアメリカ合衆国でレビュー済みAmazonで購入
Ozu's films are so unassuming, modest, and economical that you don't immediately realize how great they are (it will hit you at some point in the second act, though). They are also shrewdly accurate reflections of Japanese culture, and not only with respect to the time in which they were produced. True to Criterion Collection form, the transfer is gorgeous and the extras are great, especially the addition of Wenders's Tokyo-ga.
Frederick Baptist
5つ星のうち5.0
Another Ozu Classic Given the Criterion Blu Ray Treatment To Mostly Great Effect!
2017年11月19日にアメリカ合衆国でレビュー済みAmazonで購入
Ever since I first watched "Tokyo Story" years ago I realised that I was watching the work of genius and it made me want to explore more of Ozu's work. When Sight & Sound made it the best movie ever made (Directors' List) on its latest list over "Citizen Kane" I knew many others agreed with me. I decided to have a look at another of Ozu's films that made the list and I am not disappointed. Although I believe "Tokyo Story" is still the overall better film this one "Late Spring" ranks not that far away in my books. Ozu has an uncanny ability to tell stories and explain the complexities of human relationships so well through film and especially familial ones that you can't help but to be affected and touched irrespective of what culture or ethnic background you are from as the issues covered are universally human. We have here a look at the new encroaching upon the old ways and how people attempt to make sense of and to adapt to these changes. We see great love of a parent for a child and to what lengths this love will manifest itself in the way of self-sacrifice. This Criterion release is pretty decent although in terms of picture and sound quality doesn't measure up as well as its "Tokyo Story" release as some obvious visual imperfections are present but thankfully not too many to ruin the viewing experience. I guess Criterion has taken the standard so high when it comes to restoration of classics that I have come to expect a very high level of quality. Still if you don't already have this and if you are a fan of great films this and "Tokyo Story" should be in your video library. Also included is a 24-page booklet containing essays on the director and the leading actress.
Some picture quality issues but overall still highly recommended!
Some picture quality issues but overall still highly recommended!