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Post by Fox in the Snow on Jun 22, 2022 3:27:55 GMT
The Zen master My favorite director What are your Top 5  Mine: Late Spring
Tokyo Twilight
Floating Weeds
An Autumn Afternoon
The Flavor of Green Tea Over Rice |
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Post by rudeboy on Jun 23, 2022 1:35:40 GMT
Tokyo Story
Late Spring
I Was Born, But…
An Autumn Afternoon
The Flavour of Green Tea over Rice
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soggy
Sophomore
@soggy
Posts: 636
Likes: 1,046
 
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Post by soggy on Jul 31, 2022 8:45:01 GMT
1. Tokyo Story
2. The End of Summer
3. Early Summer
4. Late Spring
5. Good Morning
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Post by mikef6 on Aug 10, 2022 14:56:39 GMT
Late Spring
Early Summer
Tokyo Story
Early Spring
Late Autumn
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spiderwort
Junior Member
@spiderwort
Posts: 2,505
Likes: 9,275
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Post by spiderwort on Sept 29, 2022 23:51:34 GMT
So far I've only seen seen four of his films and loved them all. In order of viewing:
Late Spring, Early Summer, Tokyo Story, and An Autumn Afternoon.
Am playing catch-up as quickly as I can
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Post by Cat on Oct 3, 2022 22:05:13 GMT
Late Spring Tokyo Twilight Flavour of Green Tea Over Rice Tokyo Story An Autumn Afternoon
HM: The rest
A Story of Floating Weeds
(have not seen Floating Weeds, actually. I should change that)
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Post by Fox in the Snow on Oct 3, 2022 22:22:58 GMT
Late Spring Tokyo Twilight Flavour of Green Tea Over Rice Tokyo Story An Autumn Afternoon
HM: The rest A Story of Floating Weeds
(have not seen Floating Weeds, actually. I should change that)
is my favorite of his silent films Floating Weeds is one of the least typical of his later films, a bit more traditionally dramatic, and visually very vivid.
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Post by Cat on Oct 3, 2022 23:17:12 GMT
Late Spring Tokyo Twilight Flavour of Green Tea Over Rice Tokyo Story An Autumn Afternoon
HM: The rest A Story of Floating Weeds
(have not seen Floating Weeds, actually. I should change that)
is my favorite of his silent films Floating Weeds is one of the least typical of his later films, a bit more traditionally dramatic, and visually very vivid. That sounds interesting. He's always been a director to me for whom the typical is exquisite. Maybe he could direct large scale action or Ron Howard's Elf if he really really wanted, but his movies always struck me as a product of a person directing what they really wanted to, and what they've really worked to hone. He could probably direct True Lies but the effort would kill him because it's not a critique of social and family values. That's where his action is. The man's got a niche.
ASOFW is the only silent film of his I've seen. They're painstakingly hard to find. It's like waiting for one of those once in twenty year comets to fly by, or like one of those super rare snow-leopard sightings.
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Post by Fox in the Snow on Oct 3, 2022 23:58:09 GMT
A Story of Floating Weeds is my favorite of his silent films Floating Weeds is one of the least typical of his later films, a bit more traditionally dramatic, and visually very vivid. That sounds interesting. He's always been a director to me for whom the typical is exquisite. Maybe he could direct large scale action or Ron Howard's Elf if he really really wanted, but his movies always struck me as a product of a person directing what they really wanted to, and what they've really worked to hone. He could probably direct True Lies but the effort would kill him because it's not a critique of social and family values. That's where his action is. The man's got a niche.
ASOFW is the only silent film of his I've seen. They're painstakingly hard to find. It's like waiting for one of those once in twenty year comets to fly by, or like one of those super rare snow-leopard sightings.
His films, especially the later ones are very specific, but it’s part of the appeal for me, endlessly working on slight variations of theme and form, striving for that perfect iteration. Hong Sang-soo works in a very similar way, hence my fascination with his work. As far as I know I’ve seen all his surviving films, the older silents did take a bit more time. Some were released on DVD by BFI, a few others on Criterion and the rest I managed to find on YouTube in pretty reasonable resolution.
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Post by Cat on Oct 4, 2022 2:33:09 GMT
That sounds interesting. He's always been a director to me for whom the typical is exquisite. Maybe he could direct large scale action or Ron Howard's Elf if he really really wanted, but his movies always struck me as a product of a person directing what they really wanted to, and what they've really worked to hone. He could probably direct True Lies but the effort would kill him because it's not a critique of social and family values. That's where his action is. The man's got a niche.
ASOFW is the only silent film of his I've seen. They're painstakingly hard to find. It's like waiting for one of those once in twenty year comets to fly by, or like one of those super rare snow-leopard sightings.
His films, especially the later ones are very specific, but it’s part of the appeal for me, endlessly working on slight variations of theme and form, striving for that perfect iteration. Hong Sang-soo works in a very similar way, hence my fascination with his work. As far as I know I’ve seen all his surviving films, the older silents did take a bit more time. Some were released on DVD by BFI, a few others on Criterion and the rest I managed to find on YouTube in pretty reasonable resolution. That's exactly how I feel. The endless honing and refining and refining and honing.
I'll have to check out Youtube. I have a week off soon in two weeks so that could make for quite the rabbit hole dive. I still have my eye out for the other guy too, if I'm remembering correctly he did Grass (2018)?
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Post by Fox in the Snow on Oct 4, 2022 4:16:00 GMT
His films, especially the later ones are very specific, but it’s part of the appeal for me, endlessly working on slight variations of theme and form, striving for that perfect iteration. Hong Sang-soo works in a very similar way, hence my fascination with his work. As far as I know I’ve seen all his surviving films, the older silents did take a bit more time. Some were released on DVD by BFI, a few others on Criterion and the rest I managed to find on YouTube in pretty reasonable resolution. I still have my eye out for the other guy too, if I'm remembering correctly he did Grass (2018)? Yes, that's Hong 
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Post by moviebuffbrad on May 6, 2023 2:38:51 GMT
I've only seen Late Spring and Tokyo Story - neither really spoke to me, so I might call it a wrap there.
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Post by movielover on May 6, 2023 3:04:55 GMT
I've only seen Late Spring and Tokyo Story - neither really spoke to me do I might call it a wrap there. I’ve only seen Late Spring myself. Can’t say I liked it. If I ever watch another one of his, it’ll be Tokyo Story, because of its rep. But I doubt I’ll watch any others. |
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Post by Gloede is Back on May 16, 2023 10:27:21 GMT
I have 4 that are almost tied in my mind, in chronological order:
Banshun / Late Spring (1949)
Tôkyô monogatari / Tokyo Story (1953)
Kohayagawa-ke no aki / The End of Summer (1961)
Akibiyori / Late Autumn (1960)
The 5th would be Sanma no aji / An Autumn Afternoon (1962)
If I had to place on on top it might be the more conventional choice of Tokyo Story (through Kyoko essentially spelling out what we're meant to feel towards the end always frustrated me a little), but the one I tend to be most passionate about is The End of Summer, which is a more cheeky and fun borderline black comedy.
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Post by Gloede is Back on May 18, 2023 12:31:00 GMT
I've only seen Late Spring and Tokyo Story - neither really spoke to me do I might call it a wrap there. I’ve only seen Late Spring myself. Can’t say I liked it. If I ever watch another one of his, it’ll be Tokyo Story, because of its rep. But I doubt I’ll watch any others. While part of the same thematic trilogy as Late Spring, Tokyo Story is quite different from both this and most of Ozu's filmography. If I recall correctly he thought the film was too melodramatic. It is a reinterpretation of a (great) American film, Make Way for Tomorrow (1937) and is touching on far more universal themes - that of the relationship between adult children and aging parents - and it cuts quite deeply. So yes, I would say that even if you did not like Late Spring it may be worth checking out. Ozu was not always "Ozu" mind you, for instance, when he was young he made gangster films, such as the pretty cool and flashy Dragnet Girl. |
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Post by Jep Gambardella on May 29, 2023 15:43:00 GMT
I watched "Floating Weeds" on the weekend. I liked the visuals and the typical Ozu style, but the story, not so much.
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Post by moviebuffbrad on May 29, 2023 21:28:33 GMT
I’ve only seen Late Spring myself. Can’t say I liked it. If I ever watch another one of his, it’ll be Tokyo Story, because of its rep. But I doubt I’ll watch any others. While part of the same thematic trilogy as Late Spring, Tokyo Story is quite different from both this and most of Ozu's filmography. If I recall correctly he thought the film was too melodramatic. [/video][/quote]I don't know, they're both very tranquil domestic dramas. I could tell it was the same director. If Tokyo Story is his idea of "melodramatic", Ordinary People would probably give him cardiac arrest. I haven't seen the middle part pf this trilogy, Early Summer, but might just to say I've completed the trilogy and gave him a fair shot. It's on Max, though if I recall, the sound was way off there with Tokyo Story. |
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Post by Fox in the Snow on May 29, 2023 23:02:04 GMT
While part of the same thematic trilogy as Late Spring, Tokyo Story is quite different from both this and most of Ozu's filmography. If I recall correctly he thought the film was too melodramatic. I don't know, they're both very tranquil domestic dramas. I could tell it was the same director. If Tokyo Story is his idea of "melodramatic", Ordinary People would probably give him cardiac arrest. I haven't seen the middle part pf this trilogy, Early Summer, but might just to say I've completed the trilogy and gave him a fair shot. It's on Max, though if I recall, the sound was way off there with Tokyo Story. I'd say they're very much in the same ballpark. He consistently returns to very similar themes, plots, and visuals. Of his later work the ones that do stand out to me as different are: Tokyo Twilight (darker and more melodramatic) Good Morning (lighter and more comical) Floating Weeds (a more traditional dramatic narrative and a rural setting) the latter two are both remakes of earlier silent films he directed |
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Post by Gloede is Back on May 31, 2023 10:30:51 GMT
While part of the same thematic trilogy as Late Spring, Tokyo Story is quite different from both this and most of Ozu's filmography. If I recall correctly he thought the film was too melodramatic. [/video][/quote]I don't know, they're both very tranquil domestic dramas. I could tell it was the same director. If Tokyo Story is his idea of "melodramatic", Ordinary People would probably give him cardiac arrest. I haven't seen the middle part pf this trilogy, Early Summer, but might just to say I've completed the trilogy and gave him a fair shot. It's on Max, though if I recall, the sound was way off there with Tokyo Story.[/quote] Haha, yes, he does not deviate that far from his ordinary style and calling Tokyo Story melodramatic is a huge overstatement. He might indeed have gotten a cardiac arrest from Ordinary People.  Early Summer is actually a dramedy rather than a straight drama. A nice palette cleanse after the heartbreak of Late Spring. It is styill the same style, but the atmosphere is considerably lighter. |
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