Jeanskynebu the audience applauded

Unlimitedia Sick Product of a Sick System

NekoHomey Purely Joyful Movie!

PiraBit if their story seems completely bonkers, almost like a feverish work of fiction, you ain't heard nothing yet.

elvircorhodzic LATE SPRING is a film that is perhaps overly praised for something that the audience acts as real. Name the movie is lucid and alludes to something that should not be delayed anymore. End of something and the beginning of a new. The film was made with a lot of taste. Focused on internal emotion and characterization.Description of the story that has not at some point be described as subjective. Only life middle-class family, irrespective of external changes retains inner warmth and feelings. Here we can talk about the connection and closeness people with outside influences.The essence is in the relationship between father and daughter. Middle-aged professor is afraid that his daughter to remain a spinster. The daughter wants to continue to live with his father. Everything after that is a compromise, not conflict of opinions. At a certain point in life one must accept and understand the change. In this case, happiness is relative. The tendency of the director is to reach out to the audience with the warmth of family relationships between the characters in the film.

kurosawakira A heartwarming, amazing, impeccable film. I still remember the shock I felt when I saw this. Such a visually radical, contemplative film full of so much emotion that it's bursting at the seams. The same atmospheric quietude that there's in all of his late films, contemplative but so telling and never silent, much like the performances, particularly that of Hara Setsuko. Then there's the humor: there are some of the most hilarious things in this film that I know of, including Chaplin, Keaton, Lloyd and the Marx brothers.The story appears simple, of course. That's the Ozu way — a simple skeleton that he uses to build on, visually, above all. The first shot at the beginning of the film, perhaps the third or fourth of the whole film, when we enter the house for the first time, is such a powerful transitory shot spatially that it gives me goosebumps: first a few introductory shots outdoors, the train station and so on, and then suddenly we enter the confined space of the house as if we were lying on our belly on the ground, looking at a room from the far end of the hallway. And then Noriko (Hara) enters.The movie is full of such magical moments. The most famous scene of the film, that at the Noh theatre, is one, them leaving Kyoto for the last time is another, the final scene of the film being the logical emotional climax. It's marvelous, really: it's not over the top as if it tried either to go for realism or mechanically manipulate our emotions. On the contrary, I believe Ozu succeeds emotionally because his films open quietly and slowly. He doesn't push us into accepting anything, and he doesn't push his characters into doing anything, either. Marvelously crafted as if everything just appeared in front of our eyes without any rehearsal. It's a sign of a great filmmaker to let us into the film so deeply. The images stay.

Frances Farmer I am a fan of Ozu, and was anxious to expand my knowledge of his work by seeing this highly regarded film. Unfortunately, I was not especially impressed with "Late Spring." The pacing of the film is languid for the first hour or so -- I grew quite restless while Ozu painted an overextended portrait of domestic bliss in the household of the central characters -- a widowed father (Chishu Ryu) and his spinsterish yet bubbly daughter (Setsuko Hara). Things turn a bit more interesting as pressure is brought to bear on the daughter to marry at her advanced age of 27 -- this provokes the daughter to turn exceedingly moody and sullen, causing various complications to the marriage her father and aunt are trying to arrange. Since Setsuko Hara specializes in playing super upbeat yet submissive female characters, it was novel to see her in a rebellious and surly mode. However, Setsuko's rebellion doesn't last long and her mood turns back to positive once again rather too abruptly toward the end of the film.Though I am used to watching Japanese films portraying social norms and customs that seem archaic or irrelevant to Western eyes, the cultural/social background of this film was particularly difficult for me to relate to. Meanwhile, the manic mood swings exhibited by Setsuko Hara's character felt artificial and jarring at the same time. Somehow it just didn't hold together for me.If you are an avid fan of Ozu or of Japanese cinema then by all means see "Late Spring." However, if you want to see the best of Ozu I would recommend instead that you see the justly celebrated "Tokyo Story," the 1959 version of "Floating Weeds" and "I Was Born But..."

billzet2 I saw Late Spring a few days ago, ( May 2013).. very moving and supports what little I know about post war Japan; I was in Tokyo with MacArthur's GHQ in 1946-7.Two troublesome points.:One character attends a violin recital by Mori Iwamoto, who was a prodigy., born in1926.A bulletin board at the recital hall has the date 4-26-13,assuming the 13 refers to Showa(Hirohito), year 13 is our 1938. But the film is 1949.Next Noriko and her father visit a Temple in Kyoto, and her father remarks on how beautiful" Kodai-ji " is. But the film shows them at "Kiyomizu-dera", another Temple in Kyoto.How can mistakes like this be made? Can we blame the censors? or the editors ?