As in the films of Bresson, to Ozu the purity of style always coincides with an uncompromising moral perspective. He never lets his characters nor his audience get away from a profound dilemma with an easy answer. Thus, Ozu's films are always veritably life-enhancing, exhaustive, in the word's most definitive meaning. In "Late Spring" Ozu's mature, extremely laconic style is at its most developed before his subsequent films in which he went to define it even further. The movement of the camera is precisely considered; it is often positioned approximately one meter from the ground, and often left to explore the space long after the action has taken place.
The lingering narrative of "Late Spring" fits very well for Ozu's understated poetry which encapsulates his whole vision of humanity and the world. The impressionistic picking of details in the aesthetics triggers associations to various thematic contrasts, such as infinity and insularity, but in addition to such stylization the film bears a striking resemblance to Italian neo-realism with its documentary-like observations and dark visual tones.
The quiet emptiness of the beginning shots -- the essence of Ozu's poetics -- and their atmosphere remain as an echo in all of the scenes of "Late Spring" where there are no superfluous images. In his unique style Ozu has set the rhythmic pace for the junctions of the scenes with brief shots of nature that seem to express the transience of life; the importance of moments; and their absolute beauty.
Once again Ozu deals with the theme of collision of generations as people must ponder responsibility and freedom with regards to tradition and family. Not surprisingly, the film has no black and white solutions to offer. Ozu's honest pessimism, his Chekhovian wisdom of life; and Buddhist acceptance merge together in the beauty of his aesthetics. At its heart, "Late Spring" is one of his most profound meditations on happiness, its pursuit, limits, nature and impossibility.
When it comes to the story or narrative of "Late Spring," it is vital to discuss inner drama. For this is truly a film about characters who cannot express themselves, their true desires and wishes. It is to them whom Ozu gives his silent and tender interpretation, understanding their deepest experience of existence. In this sense, "Late Spring" can be seen as a universal tragedy of the difficulty of expressing oneself; of revealing one's innermost emotions and dreams.
The lingering narrative of "Late Spring" fits very well for Ozu's understated poetry which encapsulates his whole vision of humanity and the world. The impressionistic picking of details in the aesthetics triggers associations to various thematic contrasts, such as infinity and insularity, but in addition to such stylization the film bears a striking resemblance to Italian neo-realism with its documentary-like observations and dark visual tones.
The quiet emptiness of the beginning shots -- the essence of Ozu's poetics -- and their atmosphere remain as an echo in all of the scenes of "Late Spring" where there are no superfluous images. In his unique style Ozu has set the rhythmic pace for the junctions of the scenes with brief shots of nature that seem to express the transience of life; the importance of moments; and their absolute beauty.
Once again Ozu deals with the theme of collision of generations as people must ponder responsibility and freedom with regards to tradition and family. Not surprisingly, the film has no black and white solutions to offer. Ozu's honest pessimism, his Chekhovian wisdom of life; and Buddhist acceptance merge together in the beauty of his aesthetics. At its heart, "Late Spring" is one of his most profound meditations on happiness, its pursuit, limits, nature and impossibility.
When it comes to the story or narrative of "Late Spring," it is vital to discuss inner drama. For this is truly a film about characters who cannot express themselves, their true desires and wishes. It is to them whom Ozu gives his silent and tender interpretation, understanding their deepest experience of existence. In this sense, "Late Spring" can be seen as a universal tragedy of the difficulty of expressing oneself; of revealing one's innermost emotions and dreams.