The Family Dramas of Yasujirō Ozu
As summer turns to fall, and fall turns to winter, it is well worth the energies of every devout movie-watcher to turn to the delicate family dramas of renowned Japanese auteur Yasujirō Ozu. Barely given theatrical releases in the States during their original runs, Ozu’s work went on to develop a breathless fanbase with the re-release of his cornerstone classic Tokyo Story in 1972. Now, with a steadily increasing collection of his work being released by the Criterion Collection, there is no better time to explore his oeuvre.
The films of Ozu follow the lives of “his” families, as they bustle around their households, participate in traditional (and not so traditional, in the case of the younger generation) ceremonies and activities, and occasionally deal with generational discord. That is where much of the obvious conflict occurs in Ozu films; rarely do the stories themselves rise above domestic melodrama. That is not to say they are movies lacking in emotion, rather they deal more in humanity as it occurs in relation to setting. Some may find this problematic, as the pace of his films rarely shifts from a leisurely gait. Others will find themselves enchanted and moved.
I spoke before of seasonal timeliness. Late Spring, Early Summer, and Late Autumn (among others) rank among the classic films in this director’s work. Humanity is seen as a natural force, passing in cycles with the seasons. Not necessarily a new sentiment, but one which is beautifully – and surprisingly subtly – depicted in film. Actions are shown as leaving traces, which Ozu represents with his famous ellipses. A teapot left to boil while a door is answered, two bikes representing the two lovers who have left them behind, and the perfectly-arranged alleyways filled with geometric ginza bar signs are all showing the traces humanity has left on its surrounding world.
While working within the studio system he has directed over fifty films, ranging from slapstick comedies to “salaryman dramas”. While several of these are lost, Criterion has released several now-iconic collections of some his greatest works. The Late Ozu and Silent Ozu sets are both essential, and cover the range of genres and moods he was known for quite well. The Silent set in particular is particularly surprising, due to the comedic nature of the films it contains. But for the true classics, film fans would be well advised to start with Floating Weeds, Tokyo Story, and Late Spring, all of which have been released in handsomely packaged stand-alone sets.
About the Author
Mark Schiffer Mark is a college graduate media addict who currently lives at his parent's house in Columbia, MD. Although he spent his undergrad period studying Film and Russian Literature, he currently spends much of his time watching Netflix, reading indie comic runs from beginning to end, and playing video games for their narrative content. He also plays tenor saxophone.
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