Monotonous Perfection : A Closer Look Into Ozu 's Early Films
1845 Words Nov 1st, 2016 8 Pages
Because of the reinvention or the addition to the form of non-linear narrative in a film, Yasujiro Ozu is considered one of the Japanese greatest director. The first impression his films give is that his subjects are the Japanese Family and the stoic construction of the patriarchal figure of the father as a pillar of the Japanese identity. However, I wonder what one can discover if Ozu’s early works are paralleled and scrutinized with different perspectives. Yasujiro Ozu´s films are rooted in the genre of daily lives called by film scholars “shomin-geki”, and thus, it gives a monotonous feeling, but according to Catherine Russell who wrote for Cineaste, the seeming monotony and “passing of seasons inevitably become allegories for the passing of Japan itself into cosmopolitan modernity”, which expands the way of appreciating Ozu’s films and shots as just merely aesthetically pleasing and innovative.
What really calls my attention is the perfect frames; the seemingly perfection that unrolls oddness, since nothing in this world is perfect, though it may seem to be. Why such a low shot, which is the famously called the tatami shot. In their smiles, the viewer can see the brokenness. Catherine Russell ascribed the smiles as “emotional tension”. For example, “[t]he scene in Late Spring in which Hattori invites Noriko to a violin concert, but she declines with a wide enigmatic grin, is typical of Ozu 's depiction of…