Ozu Yasujirō’s Late Spring (Banshun, 1949) is a drama that revolves around the everyday lives of the working-class families (shomin-geki) during postwar Japan and its American Occupation. The main characters of this film, Somiya Noriko (Hara Setsuko) and Somiya Shukichi (Ryū Chishū) are played by recurring actors who are often seen in other films by Ozu. Hara Setsuko plays the daughter who wishes to take care of her father, Somiya Shukichi, and be by his side as long as she can.
In this black and white film, Noriko is an unmarried 27-year-old daughter who willingly continues to live and take care of her widowed father, Shukichi. All is fine with their living arrangement until Noriko’s aunt Masa draws attention to the reality that Noriko should be married. Masa discusses her concern with Shukichi and suggests that his assistant, Hattori, would be a good candidate for a husband. Shukichi approaches Noriko with this subject, which results in hysterical laughter revealing that Hattori is engaged. Later on, Noriko visits Kyoto and meets up with an old widowed family friend, Onodera. Onodera’s recent remarriage has been brought up to Noriko in which she reveals her impression of remarriage as “filthy” and “distasteful”. Although Noriko is reluctant at the thought of marriage, Masa continues to search for matchmaking possibilities and pairs her with a gentleman who resembles Gary Cooper. However, Noriko objects to the match because it would lead her to abandon her father. It is then brought up that her father may remarry and she should not worry. Noriko is jealous and upset after receiving news that her father would consider remarriage but after an encounter with the lady who he might possibly remarry, she gradually accepts the arrangement and the reality of a life without her father.
Ozu’s distinctive manner of filmmaking emphasizes character development more than the narrative itself, and in this case, in regards to marriage as a theme and how it changes the characters. The character developments are in a sense paralleled with traditional roles and modern/western times to the Japanese culture. In the early part of the film, Noriko and Shukichi are both comfortable and ecstatic with regards to their everyday lives. Noriko is consistently seen with a smile, being playful, innocent and independent. The subject of marriage is constantly brought up and is pushed upon Noriko. Marriage seems to be the recurring topic with almost every character she interacts with: Shukichi, Masa, Aya, Onodera, and Hattori. Although Noriko still maintains her smile, it can slowly be seen as less genuine as the idea of marriage is pushed on her. One of the first scenes that introduces the theme of marriage and remarriage is at a restaurant where Noriko and Onodera were eating and chatting. A realization comes upon Shukichi that he should not be selfish and keep his daughter by his aside attending to his daily activities, and rather have her start her own family. An evident transition between the father-daughter relationship begins to transform from a more modern, playful attitude towards the traditional patriarchal position. This transition is clearly seen after they leave the Noh performance because the two characters walk down a long road but not in linking arms or side by side but rather far apart; she walks along the grass while he continues on the concrete road. Another scene that is significant to Noriko and Shukichi’s relationship is their last trip to Kyoto together. This last trip resembles their final recognition of the closeness of their relationship. Here one can see the playful mockery and physically teasing relationship slip through more into a traditional role. Noriko confesses her doubts regarding her marriage and would want to remain with Shukichi even if he were to remarry. Shukichi lectures her by saying such things such as this is the way of life and you must move along. Although Shukichi continues to speak, his speech in a way acts like a barrier to avoid his real emotions. On the other hand, Noriko listens with her head down like she is withdrawing into herself and shielding herself from his words. Both characters in this scene mask their true feelings. The audience feels the sense of Noriko’s resistance to conformity and her filial obligations but yet empathizes with the sacrifice Shukichi has made for the better good and future of Noriko.
The camerawork observed in this film are typical styles seen in the works by Ozu. (For example, the tatami shot, where the scene is obstructed, is one of the many techniques seen) and framing a shot within a border or door frame, to name just a few. Ozu is recognized for his use of tatami shots – scenes filmed at a lower than eye-level height designed to capture characters when they are seated on the tatami. By centralizing the focus on inanimate objects in the foreground, Ozu attempts to distance the audience from the characters of the film, creating a sense of space and separation. For example, Noriko was making her way home after declining Hattori’s offer to go to an opera show and the audience is presented with a tree stump as she walks into the scene and then further and further away. . Another very common custom by Ozu is what he chooses to frame in a shot. For example, in many shots, his characters are surrounded by door frames or anything that could constitute as a border; it portrays a theatrical setting with different layers while having the spotlight on the character. Another significant cinematographic style that Ozu employs in this film is the fact that he continually portrays characters passing through entrances or exits, implying their attendance at a certain locale or event. Thus, rather than showing the audience what the characters are doing at the destination, Ozu merely implies their attendance and moves on directly to the next shot. This simplification of the narrative makes transitions from scene-to-scene seem seamless and effortless to the audience. Such is the brilliance of Ozu and his camera work
Ozu’s films are thought as being reflections on the changing notions of changing roles and identities, and its perception of place within Japanese society as children, husbands, wives and how they define themselves. These characters in Late Spring were portrayed as his principle work in terms of exploring roles of men and women during this time. Ozu Yasujirō’s films are continuous projects from his understanding of the complexity of everyday life and this one is no different.