Late Spring (1949) Reviews

'Late Spring' is one of three films that make up the Noriko Trilogy. The others being Yasujiro Ozu's masterpiece 'Tokyo Story' and 'Early Summer', this film being the first of the three and 'Tokyo Story' being the last. Eventually getting through enough of Ozu's work to give him an even higher appraisal than when being blown away by 'Tokyo Story' and 'An Autumn Afternoon' some years ago, it is my feeling that he is one of the greats even if his films require patience.

It is very easy to see why 'Late Spring' is considered one of his best and its critical acclaim is more than richly deserved. While 'Tokyo Story' is still my personal favourite of Ozu's films, 'Late Spring' is an extremely close second and has everything that makes that film the masterpiece that it is. Like his other films, it does require patience as the first portion is particularly deliberate if one is not already familiar with his style. Being somebody who is, the pace was not a problem (though a couple of his films did suffer a little from it when the plots were particularly slight, for example 'Early Spring').

An obvious starting point in praising 'Late Spring' is the acting. While Chishu Ryu brings all the qualities that he brought to his other roles in Ozu's films (being an Ozu regular), in a typically nuanced portrayal, Setsuko Hara's (another Ozu regular) equally sensitive and again benevolent performance is even better. All the acting is great, but those two stand out and their story provides 'Late Spring's' heart. Their characters are also very easy to warm to and identify with, Noriko especially, in a film where the characters in general are easy to get behind in both their strengths and flaws.

Ozu's direction is always assured and understated without ever sleepwalking. 'Late Spring' is beautifully photographed, with a lot of pillow shots and low angles often associated with Ozu, and doesn't try to do too much while opening up the drama enough that it doesn't become too static. Lovely use of interiors too. The music score matches the gentle, sensitive tone of the film with no issue at all.

The script is masterful in its use of language and both poetic and honest, flowing beautifully. The story also connected with me greatly, with an emotionally devastating ending in particular, there is a very strong emotional core here and it feels very human. Ozu was a master at his portrayal of the middle-class and the family melodramas that surround them, and one can see why in this, one of the finest and most moving examples of his work to have that (second only to 'Tokyo Story' and that is a close call).

In summary, outstanding film all round and one of Ozu's masterpieces. 10/10

One of the most amazing films on romance. This movie challenges the issues behind arranged marriage in Japan.