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    DOWNLOAD! STREAM Late Spring


    My favorite Youtube Channel ever. Thank you so much, I learn so much from these videos. I watch my favorite movies in a different light, and it inspires me to write my own analysis of my favorite books, movies, songs, etc. Thank you for the teaching and inspiration..
    I have mixed feelings about this movie. But then, isn’t great cinema meant to be so? The positive side: – very nicely shot and edited! – the final dialogue shows that so-called good, caring people tend to be very much enamored of themselves The negative side: – the profusion of pointless, emotionally bankrupt dialogues (You must be tired / No I’m fine. / I just hope we’re not inconveniencing you. / It’s been a long time). – the implicit approval of Japanese militarism (the only positive character among the younger generation – namely the young widow – wants to stay faithful to her deceased husband).
    all bets are off
    lovely if sad film!
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    Was just about to start Tokyo Story Coincidence? Yes.
    But great job
    These films feel like home, not my home, not any of the character’s home, but the embodiment of wherever we are. I feel connected to every single event without even watching these films. If i grew up watching these i feel that i would remember them for the rest of my life, like it’s another home..
    So achingly sad, their last trip together before the daughter gets married. All parents will feel this scene. The great Setsuko Hara and the almost as great Chishû Ryû doing their best to open the flood gates. And succeeding. 4:08 when her bowed head drops even further: like an arrow through the heart..
    Nicely done! Two of film’s best makers I can think of. Thank you for putting this together!
    Thank you for a wonderful video !
    This is great Tofu
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    I love your videos, keep up the great work! Hopefully I can contribute to your Patreon in the future..
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    Interesting thesis–but if one chooses Ikiru rather than Rashomon is the distinction as clear? I don’t know Ozu’s work very well, so cannot comment on that side of it..
    3:30 Kurosawa ‘the least Japanese of Japanese film directors.’ This makes me chuckle. When I was in college there was (allegedly) a Donald Ritchie quote: Kurosawa was the most Japanese of Japanese film directors. A college professors said this more than a few times. Any of us who’d seen even one Ozu movie knew this couldn’t possibly be the case and just figured that it was a simple mistake that got repeated by a lot of people who didn’t know better . Kurosawa is of course Japanese, but he’s also more universal. Keep in mind that in his youth, Kurosawa considered himself to be a Marxist, so he set out to express the universal condition of humans. I laughed when I read the non-Chinese scriptwriter of Crouching Tiger Hidden Dragon saying that asking him to work on this script was like someone not an American trying to make a Western… Well, what’s the best Western? Yojimbo. Sergio Leone (still not an American) proved it again. Tampopo is what you’d get if you were Japanese and said, I’d like to make a Western in Japan,’ (and it’s billed as the First Noodle Western) a terrific movie, but Yojimbo went a level deeper and told a Japanese story that was also an American Western. I don’t know where you got the bit about people thinking Ozu’s tatami level shots aggrandizing his characters. I’ve not once heard this. I’ve always heard it explained as 1. something Japanese viewers would understand and feel respected for, but technically 2 it’s about the midpoint floor to ceiling, this is the best height to show an interior while keeping the verticals straight up and down. Even when we look up from the floor in a room we don’t perceive the corners of rooms converging. As a photographer after many years, somethings that don’t seem to bother anyone else can be constantly annoying. So Ozu by not bothering with dissolves, camera movement, different lenses… everything matches, there are no disruptive ‘effects’ that are common with wide angle lenses. (Every source I can find on the web says Ozu used a 50mm lens. I remember it as a 58mm lens.) btw the ‘cherry blossom festival’ in Onomichi in the Tokyo Story clip. This is the end of the cherry blossoms in bloom because the shot is the petals falling off the blossoms. I think an another way to look at this subject might be to compare Japanese filmmakers with Canadian. How hard have Canadians been trying for how long to ‘double’ Vancouver, Toronto and Montreal as New York or other US locations? I can’t think of a single Japanese film that ever attempted this..
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    this was a great watch, thanks
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    Una obra maestra. Se agradece que se haya subido a Internet. De paso, es raro ver una pelicula de Ozu doblada al español, por lo menos en America Latina donde este tipo de peliculas se exhibe subtitulada..

    Who was the guy with the moustache talking about Ozu’s cinema?
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    Late Spring is my favorite Ozu film and an all-time favorite overall. Did Setsuko Hara ever give a mediocre performance? She puts most actresses to absolute shame. It’s hard to take the melodramatic screaming and tantrums of Hollywood style acting seriously after watching her for even a few moments. If I was an actor, she’d be someone I’d study quite frequently..

    seems like documentary/biography filming. he is not well heard of coz it was dull; u can barely say he was overshadowed if u compare him with others in the era. i dont think this needs to be explored further..
    Brilliant essay. You have a new subscriber, sir.

    its like moving paintings. this guy blows my mind

    good video, but max richter and gymnopedies is a little cliche.

    Ozu is my absolute favorite director of all time. Thank you!

    I always feel smarter after watching your videos. I can’t be sure if I actually had gotten any smarter. But I like your videos nonetheless. Great editing, great narration, complete lack of fluff..
    film at 0:33 ?


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