UnowPriceless hyped garbage

Console best movie i've ever seen.

Lollivan It's the kind of movie you'll want to see a second time with someone who hasn't seen it yet, to remember what it was like to watch it for the first time.

Kaelan Mccaffrey Like the great film, it's made with a great deal of visible affection both in front of and behind the camera.

overdarklord I am not a big fan of Yasujirou Ozu's works. His more famous works, Tokyo Story and Late Spring are both quite bland and didnt age well in my opinion. Ozu's story telling style which is rather simplistic and dipicts rather the avarage life of people than any kind of more important event is not bad per se, but when you combine it with very dull written characters the movie gets somewhat unwatchable, especially when the message (in the case of Tokyo Story) is also nothing really complex to wrap your head around. "An Autumn Afternoon" on the other hand shows that his simplistic story telling style with life lessions attached to it can be done in an entertaining and interesting way, when you add characters with actual personality. In this movie you have a number of those and a lot of character interactions that keep you interested throughout the film. This movie also deals with getting older and not letting go of your memories and the people close to you, not wanting to be alone and forgotten. I think this idea is implemented perfectly in this movie. Soundtrack and Cinematogrophy where also made in a rather simplistic way. The Cinematogrophy didnt always suffer because of it, sometimes there were some nice shots between characters but the soundtrack was rather boring and at the end of the movie I got pretty tired of the same old tune. But overall it was quite a nice watch, way more recommendable than his other works (besides maybe "Floating weeds" which was also an enjoyable watch)

MisterWhiplash What make Ozu's final film a special thing to hold on to is that the expectations one has are part of what the director has in mind. He's at the point in his career, when he makes this film, that he's been around the block when it comes to stories of older men with daughters (or just family in general, but, specifically that dynamic like in Late Spring, probably his best film in my estimation), and that he knows the audience coming to this will have likely seen one of his movies and specifically one of these stories. I thought this was all the film would be, but it's much more than that. This is about the passage of time and cultural norms, and about how people deal with changes and societal expectations.Indeed while the central plot, of what delicate (not small) amount there is sees Ozu main-stay Chishû Ryû contemplating after much questioning and gentle-to-not-gentle prodding by his coworkers and friends that he should marry off her daughter and, naturally, he does, Ozu's concern as a filmmaker isn't just that. In other words, that's not precisely why he made the film, and the story of a father marrying off his daughter is more of a by-product of what, philosophically, he is after here. An Autumn Afternoon is really *about* those men in the room with "The Gourd", Sakuma (and damn is Eijirô Tôno a having fun and communicating a real sadness to this character). They've all had certain norms and ways of looking at the world - in one conversation just hearing how these older/middle-aged-to-senior-citizen ages men, talk about women and relationships and how stuck they are in that says it all - and this also extends to even world war two itself.I'm not sure how much I've seen Ozu reference the war in his other films, but in this it's certainly an element; when Shuhei is at the bar with the one gentleman who he didn't recognize from before as one of his former privates (he was a Captain), there's some reminiscing about the war and about the "what ifs" that could have been. For example, the fairly drunk ex private (there are a LOT of drunk men in this by the way, drinking for fun and to wash any pain anyway, which they may/may not have put on themselves) talks on how he wishes the Japanese had won - Shuhei politely disagrees, that it was "good" the Japanese lost, another interesting point I'm sure I could pick apart more - and how the Japanese are now reflecting American culture as opposed to the reverse would've happened if Japan had won. This is one of those moments that a filmmaker normally might not have in a film if they were solely concerned with plot or narrative, but Ozu wants to emphasize the weight of the emotional world of his characters by having these moments, that it's about the bigger picture both philosophically and internally.This is a masterful film because of how Ozu treats human beings and how he shows them sometimes subtly navigating having to come to blows with one another. Take the husband and wife where the former wants to buy some golf clubs (he uses the buying of a refrigerator as sort of a cover at first and it doesn't hold up); the wife objects in part because of the expense but also that she sometimes wants things too and he won't let her. This is about as heavy Ozu gets in a film like this to having a major dramatic blow-out, but the emotional undercurrent is still strong between these two, and eventually, somehow, some way, the woman actually does get her way - she wants a leather bag, though she responds to the husbands concerned look with "it's my money" - and in Ozu's own subtle way, there's a nice comment about the passage of time too. What happens when (gasp) women aren't completely subservient to their men and have their own, you know, agency and can do things for themselves - this is apart from the other question of being married or not or deciding who to marry or being married off.So, in short, this film was a pleasant surprise as far as being deeper than I expected and has a particularly bittersweet ending that moved me. While I'm not sure I love it quite as much as Late Spring as it lacks that extra touch of Setsuko Hara - the daughter here, Iwashita, is fine but only that as an actress, I didn't feel as much depth from her as the other actresses - it's a great film and one that any director would be proud to go out on (though I'm sure Ozu didn't intend it that way, he died relatively young at 62).

David Conrad Ozu made the same movie again and again, so it is perhaps no surprise that his final one is arguably the best of all. In "Sanma no Aji," Ozu balances all of the usual themes of his films—generation gaps, the different aspirations of men and women in Japanese society, changing attitudes toward consumerism, and the absent presence of the Pacific war in Japan's collective memory—with his exceptional finesse and customary sensitivity. In this outing the discussions of the war are more overt than usual, though they extend no further than the drunken reminiscences of old men in a restaurant. These few, understated scenes are crucial: the war was the great break after which virtually nothing in Japan would be the same, and the rift it creates between the collective memories of the young and the old is in many ways the proximate cause of the movie's more visible and contemporary rifts: the rifts of lifestyle in Japan's postwar economic environment. The film is best appreciated with some knowledge of its historical background, but casual fans of Japanese cinema should find much to enjoy as well. Daisuke Kato, recognizable from Kurosawa movies like "Seven Samurai," has a remarkable turn as Ryu's nostalgic drinking companion and former military subordinate.

Jackson Booth-Millard This Japanese film featured in the book 1001 Movies You Must See Before You Die,I didn't know anything about it other than that fact, and seeing that many films in the book have turned out great choices I was looking forward to it. Basically ageing widower Shuhei Hirayama (Chishû Ryû) with married thirty two year old son Koichi (Keiji Sada), and two unmarried daughters, twenty four year old Michiko (Shima Iwashita) and twenty one year old Kazuo (Shin'ichirô Mikami). Hirayama has regular reunions, filled with reminiscing of old times and banter, with his five middle-school classmates, Shuzo Kawai (Nobuo Nakamura), Shin Horie (Ryûji Kita), Dousousei Sugai (Tsûsai Sugawara), Dousousei Watanabe (Masao Oda) and Nakanishi at the Wakamatsu (Young Pine) restaurant. One of their reunions they are also joined by their old Chinese classics teacher Sakuma, nicknamed the 'Gourd' (Eijirô Tôno), who ends up very drunk, and needing Hirayama and Kawai to take him home, he has been living with problems, and they get to meet his middle aged daughter Tomoko (Haruko Sugimura) who missed an opportunity to marry. The teacher's former pupils give him some money to help him, and next we see Hirayama being recognised and taken to the favourite bar of small local car-repair shop owner Yoshitaro Sakamoto (Daisuke Kato), the owner there Kaoru (Kyoko Kishida) resembles his dead wife. In the bar the patriotic military song 'The Battleship March' is played for Sakamoto, and when Hirayama comes back to the bar it is played again, and after he gives 50,000 yen to his son. Koichi says he is planning to buy a new refrigerator, and the extra money he buys himself some second hand golf clubs, which his wife Akiko (Mariko Okada) isn't best happy with, him indulging on himself and not treating her. Hirayama recognises his selfishness keeping daughter Michiko home to look after him, after seeing the life of the Gourd, so he arranges a marriage for her, and he is keen for Yutaka Miura (Teruo Yoshida), who is keen on, to be the groom, but he is already taken. After having her moment of sadness, she agrees to attend a matchmaking session, but time passes and there has been a wedding, but we never see the ceremony or the man Michiko married, only father Hirayama coming home from a drinking night with his friends, and contemplating that he will be alone. Also starring Kuniko Miyake as Nobuko Kawai. Ryû gives a fond performance as the old father who tries to carry on with life despite losing his wife, there is no plot as such, it is simply seeing life through the experiences of the widow and his family, but has clever things in it, such as low camera angles, so you can explore the scenarios the characters are in, it is a nice gentle story of natural humanity, a most watchable drama. Very good!