September 27, 2016 (XXXIII:5) Yasujirö Ozu,: BANSHUN/LATE SPRING (1949, 108 min) Directed by Yasujirô Ozu Written by Kazuo Hirotsu (based on the novel "Chichi to musume" by), Kôgo Noda (screenplay) and Yasujirô Ozu (screenplay) Produced by Takeshi Yamamoto Music Senji Itô Cinematography Yûharu Atsuta Film Editing Yoshiyasu Hamamura Art Direction Tatsuo Hamada Set Decoration Mototsugu Komaki Costume Design Bunjiro Suzuki Makeup Department Toku Sakuma (key hair stylist), Hisae Kakizawa (hair stylist), Kingorô Yoshizawa ... hair stylist Production Management Dai Watanabe Mainichi Film Concours, 1950. Won : Best Film, Yasujirô Ozu (b. December 12, 1903 in Tokyo, Japan— Yasujirô Ozu; Best Actress: Setsuko Hara for Aoi d. December 12, 1963, age 60, in Tokyo, Japan) was a sanmyaku and Ojôsan kanpai; Best Director: Yasujirô movie buff from childhood, often playing hooky from Ozu; Best Screenplay: Yasujirô Ozu and Kôgo Noda school in order to see Hollywood movies in his local theatre. In 1923 he landed a job as a camera assistant at Cast Shochiku Studios in Tokyo. Three years later, he was Chishû Ryû…Shukichi Somiya made an assistant director and directed his first film the Setsuko Hara…Noriko Somiya next year, Blade of Penitence (1927). Ozu made thirty-five Yumeji Tsukioka…Aya Kitagawa silent films, and a trilogy of youth comedies with serious Haruko Sugimura…Masa Taguchi overtones he turned out in the late 1920s and early 1930s Hôhi Aoki…Katsuyoshi placed him in the front ranks of Japanese directors. He Jun Usami…Shôichi Hattori made his first sound film in 1936, The Only Son (1936), Kuniko Miyake…Akiko Miwa but was drafted into the Japanese Army the next year, Masao Mishima…Jo Onodera being posted to China for two years and then to Singapore Yoshiko Tsubouchi…Kiku when World War II started. At war's end he went back to Yôko Katsuragi…Misako Shochiku, and his experiences during the war resulted in Toyo Takahashi…Shige (as Toyoko Takahashi) his making more serious, thoughtful films at a much Jun Tanizaki…Seizô Hayashi slower pace than he had previously. His most famous film, Ichirô Shimizu…Takigawa's master Tokyo Story (1953), is generally considered by critics and Yôko Benisawa…Teahouse Proprietress film buffs alike to be his "masterpiece" and is regarded by Manzaburo Umewaka…Shite many as not only one of Ozu's best films but one of the best films ever made. He also turned out such classics of Japanese film as Flavor of Green Tea Over Rice (1952), Ozu—LATE SPRING—2 Floating Weeds (1959) and An Autumn Afternoon (1962). (1957), I Will Buy You (1956), Early Spring (1956), Tokyo Ozu employs the recurring theme of changes in post-war Story (1953), Flavor of Green Tea Over Rice (1952), Japanese family and society, especially concentrating on Early Summer (1951), Late Spring (1949), A Hen in the relationships between the generations. He is also known Wind (1948), Record of a Tenement Gentleman (1947), through his cinematic trademarks such as rigorous use of There Was a Father (1942), The Brothers and Sisters of static camera positioned only a few feet from floor, use of the Toda Family (1941), Nobuko (1940), Four Seasons of the color red, and characters looking directly into the Children (1939), Katei nikki (1938), What Did the Lady camera. The camera was always placed low, close to the Forget? (1937) and Wakôdo no yume (1928). floor. He never used cranes, a moving camera, bird's eye shots. Once or twice he tried them early in his career, but Chishû Ryû (b. May 13, 1904 in Kumamoto, Japan—d. he abandoned them. When he edited, he never used March 16, 1993, age 88, in Yokohama, Japan) appeared in overlaps, wipes, fade-ins. He was determined to create a no fewer than fifty-two out of fifty-four of his master sense of ordinary, everyday life without tricks or Yasujirô Ozu. He could be a very versatile actor, for mannerisms. To Ozu the camera was never more than an instance in 1936, when he was thirty, he embodied a uninvolved observer. It was never student in one film and an old man in part of the action. It never another. However, he was perfect in commented on the action. It was Ozu's films, most often, as a simple, through the repetition of short cuts unobtrusive man whose humanity is moving back and forth from one revealed through the hardships of character to another that Ozu created everyday life. Of his impressive 238 a sense of real life. Some of his films or TV credits, a list of the other 54 directorial efforts are: The highlights includes Excuses (plus at End of Summer (1961), Late Autumn least 36 other Tora-san films, going (1960), Good Tokyo Twilight back to Tora-San’s Cherished Mother (1957), Early Spring (1956), Early in 1969), Shiny Moss (1992), Until the Summer (1951,The Munekata End of the World (1991), Akira Sisters (1950), Late Spring (1949), A Hen in the Wind Kurosawa's Dreams (1990), Carefree Goddesses (1987), (1948), Record of a Tenement Gentleman (1947), There Mishima: A Life in Four Chapters (1985), The Funeral Was a Father (1942), An Inn in Tokyo (1935), A Story of (1984), Lanterns on Blue Waters (1983, TV Movie), Floating Weeds (1934), A Mother Should Be Loved Miyamoto Musashi (1973), Where Spring Comes Late (1934), Dragnet Girl (1933), Woman of Tokyo (1970), Fight for the Glory (1970), Am I Trying (1969), (1933),Until the Day We Meet Again (1932), Where Now Battle of the Japan Sea (1969), The Human Bullet (1968), Are the Dreams of Youth (1932), I Was Born, But... Japan's Longest Day (1967), Warm Current (1966), (1932), Spring Comes from the Ladies (1932), Tokyo Radishes and Carrots (1965), Red Beard (1965), The Chorus (1931), The Sorrow of the Beautiful Woman Crest of Man (1964), An Autumn Afternoon (1962), Love (1931), The Lady and the Beard (1931), The Luck Which Under the Crucifix (1962), A Woman's Place (1962), The Touched the Leg (1930), That Night's Wife (1930), I End of Summer (1961), The Last War (1961), The Human Flunked, But... (1930), Walk Cheerfully (1930), The Life Condition III: A Soldier's Prayer (1961), Late Autumn of an Office Worker (1929), Days of Youth (1929), Takara (1960), Satan's Sword (1960), The Bad Sleep Well (1960), no yama (1929), Wife Lost (1928) and Wakôdo no yume Daughters, Wives and a Mother (1960), Ginrei no ôja (1928). He also has 47 writer credits. According to (1960), Spring Dreams (1960), I Want to Be a Shellfish renowned film critic Roger Ebert, "to love movies without (1959), Floating Weeds (1959), Good Morning (1959), loving Ozu is an impossibility". Farewell to Spring (1959), Hashi (1959), The Path Under the Plane Trees (1959), The Snow Flurry (1959), The Yûharu Atsuta (b. 1905 in Kobe, Japan—d. 1993, age Happy Pilgrimage (1958), The Eternal Rainbow (1958), 88, in Japan) is most known his long time collaboration The Rickshaw Man (1958), Tokyo Twilight (1957), The with Ozu, especially for his work on Tokyo Story (1953), Crowded Streetcar (1957), Early Spring (1956), Eyes of Late Spring (1949) and Early Summer (1951). Both Children (1956), She Was Like a Wild Chrysanthemum Atsuta and Chishû Ryû were featured in Wim Wenders’s (1955), Twenty-Four Eyes (1954), Love Letter (1953), Tokyo-Ga (1943), a documentary tribute to Ozu. Atsuta Tokyo Story (1953), Foolish Younger Brother (1953), worked as a cinematographer or d.p. on 37 films: I Lived, Mole Alley (1953), Flavor of Green Tea Over Rice (1952), But... (1983, Documentary), Zangiku monogatari (1963), Youth of the Son (1952, Short), Nami (1952), Fireworks An Autumn Afternoon (1962), Late Autumn (1960), Good Over the Sea (1951), Early Summer (1951), Boyhood Morning (1959), Equinox Flower (1958), Tokyo Twilight (1951), The Munekata Sisters (1950), Late Spring (1949), Ozu—LATE SPRING—3 A Hen in the Wind (1948), Record of a Tenement (though apparently sociable with friends), and refusing all Gentleman (1947), The Fellows Who Ate the Elephant roles offered. Hara made six films with Ozu including the (1947), Army (1944), Port of Flowers (1943), There Was a so-called Noriko trilogy, of which Tokyo Story (1953) is Father (1942), Ornamental Hairpin (1941), The Brothers probably the best-known. She also worked with Akira and Sisters of the Toda Family (1941), The Story of Tank Kurosawa, Mikio Naruse, Hiroshi Inagaki, and many Commander Nishizumi (1940), The Lights of Asakusa others. Before choosing to withdraw from film, she acted (1937), Children in the Wind (1937), A Star Athlete in 77 productions some of which are 47 Samurai (1962), (1937), The Only Son (1936), An Inn in Tokyo (1935), A My Daughter and I (1962), The End of Summer (1961), Story of Floating Weeds (1934), A Mother Should Be Late Autumn (1960), Daughters, Wives and a Mother Loved (1934), Caress (1933), Dragnet Girl (1933), (1960), The Wayside Pebble (1960), Nippon tanjô (1959), Woman of Tokyo (1933), Where Now Are the Dreams of A Holiday in Tokyo (1958), Tokyo Twilight (1957), Youth (1932), I Was Born, But... (1932, uncredited), Settlement of Love (1956), Sudden Rain (1956), Sound of Manchurian Marching Song (1932), That Night's Wife the Mountain (1954), Tokyo Story (1953), Shirauo (1953), (1930), I Flunked, But... (1930), Days of Youth (1929), Tokyo Sweetheart (1952), Repast (1951), Early Summer Wife Lost (1928) and Wakôdo no yume (1928). (1951), The Idiot (1951), Late Spring (1949), Here's to the Girls (1949), Tonosama Hotel (1949), Temptation (1948), The Ball at the Anjo House (1947), No Regrets for Our Youth (1946), Kita no san-nin (1945), Hawai Marê oki kaisen (1942), Currents of Youth (1942), Toyuki (1940), Tokyo no josei (1939), Priest of Darkness (1936) and Tamerau nakare wakodo yo (1935).