I just watched this movie today and one thing I liked was how it was shot.. I noticed in the dialogues how the speaker were shot in a kind of medium close up shot - square frame almost portrait like I think it that’s the technical term for it. And that he was consistent with it throughout the film.. Such a lovely slice of life kind of film. I agree that it’s a must watch!! 💯😃
I really loved this movie. It's so wholesome and makes you feel good. I loved his Tokyo Story as well but that film is far more tragic and heartbreaking. The other thing I like about his films is his camera work - still frames, perfectly centered.
Hello! Love from India. The farts have a demoralizing role to play, the farts dismantle the whole phony conversations of adults, and demoralize and question its credibility. The movie also places the SILENCE as a powerful medium of communication, where the two brothers crawl towards their desired TV by using Silence as a weapon.
Watched it recently. It's really weird to me, as a Brazilian, see how the 50's Japanese Culture was like. But still, a heart warming film! Ozu is an amazing director.
Not gonna lie, the movie was amazing. But can we just address how uncomfortable (maybe just to me) how dialogues between two people always consists of the speaker almost always speaking directly towards the camera? Specially when that one lady confronts the brothers' mother about spreading rumors? Again, it was amazing, and I love everything about it. Even the anxiety-giving scenes. HAHA
that was Ozu's preference, the full-turn towards the audience during dialogue shots. I think you sensed what they can mean--some degree of discomfort, despite the formality and niceties of the speaker's.
Very few directors are instantly recognizable by some aspect of their cinematography or direction. Ozu is one of them. Off the top of my head, three features of his films come to mind: (1) the tatami mat shot - the camera being placed at the level where a Japanese person would typically sit (on the floor on a tatami mat); almost all observations are made from this vantage point; (2) the still camera where the characters move, but the location remains still; many consider that the main "characters" of Ozu films are the locations (living rooms, offices, streets, dining areas) and that the people just occupy the spaces for a period of time (just like in real life!); (3) as you described, the dialogue often being spoken to the camera (to you) and not to the other characters in the scene; when characters are speaking to each other in the scene, they are often sitting side-by-side; the direction that the character is speaking does not necessarily line up with what one has become accustomed to from watching just about any other director. These strategies by Ozu were designed to reduce melodrama; to increase one's inner drama but only in the ways that one might actually feel in real life; to make one part of the scene (not merely an observer); and to create discomfort, just as one would feel in real life. Why would you feel comfortable when your kid is telling you that you are a loser or your father is telling you that you are a spoiled brat? Ozu has an amazing opus (many of the films reviewed here). My favorites include: "An Autumn Afternoon", "Tokyo Story" and "Late Spring." The late Roger Ebert said: "Sooner or later, everyone who loves movies comes to Ozu." With permission from Dr. Josh, here is a link on Ebert's thoughts on Ozu: www.rogerebert.com/interviews/saluting-a-master-of-the-cinema-yasujiro-ozu
Good movie but I could not really like it: reminded me of the small european village society where I grew up : men who don't speak but drink too much, older women who always watch what the others do, young mothers as slaves for the family, stupid spoiled boys, invisible girls .... I felt a bit oppressed watching the movie as I felt when I was living there.
Ozu's movies gives me calmness it makes me feel relax & enjoy small small problems of life. Thanks for giving review.
you're welcome.
This movie's good because it's got Isamu in it, he's the best boy
Ozu really understands kids. How he got them to be so funny and charming. Great movie.
Agree about his use of colour. Floating Weeds has some subliminal shots.
good point; hard to get child actors to give the kind of performances that you see in this movie.
I just watched this movie today and one thing I liked was how it was shot.. I noticed in the dialogues how the speaker were shot in a kind of medium close up shot - square frame almost portrait like I think it that’s the technical term for it. And that he was consistent with it throughout the film.. Such a lovely slice of life kind of film. I agree that it’s a must watch!! 💯😃
excellent, thank you.
Never heard of it until now. Going to check it out! Your videos have become my go-to as I explore the Criterion catalog.
Thank you. Glad I can help you.
Yes, because it is a comedy it can honour as well as criticise by rounding things off nicely
I really loved this movie. It's so wholesome and makes you feel good. I loved his Tokyo Story as well but that film is far more tragic and heartbreaking. The other thing I like about his films is his camera work - still frames, perfectly centered.
yes. it's a "desert-island" movie because of its ideas and complexity. endlessly rewatchable.
Hello! Love from India. The farts have a demoralizing role to play, the farts dismantle the whole phony conversations of adults, and demoralize and question its credibility. The movie also places the SILENCE as a powerful medium of communication, where the two brothers crawl towards their desired TV by using Silence as a weapon.
thank you.
-farts
-refuses to elaborate further
Great film, I think it's timeless, as the concept can be replaced with, let's say, a smartphone, and it'd work.
yes, indeed, although if it were in set in America, I doubt everybody should be portrayed as so well behaved.
This is a really good film. I laughed my head off. The boys are hilarious! LOL
This movie is very much inspired by Jacques Tati`s films like My Uncle and Mr. Hulot's Holyday, in my opinion.
Watched it recently. It's really weird to me, as a Brazilian, see how the 50's Japanese Culture was like.
But still, a heart warming film! Ozu is an amazing director.
yes! thank you.
Bro from where did you watched it?? I can't find it anywhere.
@@adityagautam9499 github.com/dezelin/movies/tree/master/Akira%20Kurosawa
If you can't find any subtitles in you language, try YIFY subtitles
Not gonna lie, the movie was amazing. But can we just address how uncomfortable (maybe just to me) how dialogues between two people always consists of the speaker almost always speaking directly towards the camera? Specially when that one lady confronts the brothers' mother about spreading rumors? Again, it was amazing, and I love everything about it. Even the anxiety-giving scenes. HAHA
Or was that a norm in movies back then?
that was Ozu's preference, the full-turn towards the audience during dialogue shots. I think you sensed what they can mean--some degree of discomfort, despite the formality and niceties of the speaker's.
Very few directors are instantly recognizable by some aspect of their cinematography or direction. Ozu is one of them. Off the top of my head, three features of his films come to mind: (1) the tatami mat shot - the camera being placed at the level where a Japanese person would typically sit (on the floor on a tatami mat); almost all observations are made from this vantage point; (2) the still camera where the characters move, but the location remains still; many consider that the main "characters" of Ozu films are the locations (living rooms, offices, streets, dining areas) and that the people just occupy the spaces for a period of time (just like in real life!); (3) as you described, the dialogue often being spoken to the camera (to you) and not to the other characters in the scene; when characters are speaking to each other in the scene, they are often sitting side-by-side; the direction that the character is speaking does not necessarily line up with what one has become accustomed to from watching just about any other director.
These strategies by Ozu were designed to reduce melodrama; to increase one's inner drama but only in the ways that one might actually feel in real life; to make one part of the scene (not merely an observer); and to create discomfort, just as one would feel in real life. Why would you feel comfortable when your kid is telling you that you are a loser or your father is telling you that you are a spoiled brat?
Ozu has an amazing opus (many of the films reviewed here). My favorites include: "An Autumn Afternoon", "Tokyo Story" and "Late Spring." The late Roger Ebert said: "Sooner or later, everyone who loves movies comes to Ozu."
With permission from Dr. Josh, here is a link on Ebert's thoughts on Ozu: www.rogerebert.com/interviews/saluting-a-master-of-the-cinema-yasujiro-ozu
Good movie but I could not really like it: reminded me of the small european village society where I grew up : men who don't speak but drink too much, older women who always watch what the others do, young mothers as slaves for the family, stupid spoiled boys, invisible girls .... I felt a bit oppressed watching the movie as I felt when I was living there.