Yasujiro Ozu

Yasujiro Ozu can be referred to as the “most Japanese of all directors”. His films embodied the Japanese spirit. He brings traditional and modern together in his films. He uses the transcendental style to make his films not only fit the Japanese traditional culture but also to better express the breaking from tradition that the culture was going through after World War II. Ozu doesn’t advocate traditional or modern ways, but for the oneness or Zen of the Japanese beliefs. “Ozu responds to disunity in Japanese life by evoking the traditional verities of Zen art in a contemporary, cinematic context.” (Schrader, 64)

Ozu’s films are always about shomin, the little people in their day-to-day lives. In showing everyday living, Ozu removes all expression so that only the act of living is present. He did this by removing all nuance from an actor’s performance. He had them repeat their lines so many times until it became rote. “Every shot is from the same height, every composition static, every conversation monotone, every expression bland, every cut forthright and predictable.” (Schrader, 70)

Ozu does not include drama in his films. He said “Pictures with obvious plot bore me now. Naturally, a film must have some kind of structure or else it’s not a film, but I feel that a picture isn’t good if it has too much drama.” (Richie, 21) Ozu often uses the same plot over and over again, with the same actors playing similar roles. He changes these stories only by focusing on a different character. In Late Spring (1949) he has a father and daughter, in Late Autumn (1960) which is the same plot, he has a mother and daughter, however, the focus is more on three men who are friends of the mother’s late husband. He builds plot through the breaking of the 180° rule or has other, rather subtle, breaking of balance and calm in the story. These changes suggest that something isn’t right, that there is a conflict building. “On the surface, Ozu’s stories are simple… these simple stories are often told in a puzzling way: major story events are omitted; important characters never appear; inconsequential scenes take up substantial amounts of time; and upcoming scenes are frequently miscued in the scene before.” (Geist, 91)

Ozu’s films often resolve through the understanding of mono no aware which literally means “pathos of things”. It is awareness of impermanence with a wistfulness of memory. The inn scene of Late Spring and Late Autumn share this moment of mono no aware in which the father/mother shares an understanding with their daughter, before her impending marriage. It is the end of their relationship, their last trip together, the end of their life as it was. Also, in Tokyo Story (1953) when the father sits alone after his wife’s funeral. He accepts the fact that he must continue living despite the fact that his wife is dead. He does not express any mourning, instead, Ozu creates an understanding of mono no aware through long takes of stillness and silence; creating almost a still life image.After watching Ozu’s films (Late Spring, Tokyo Story, and Late Autumn), I find it hard to explain what the films are about beyond the basic plot outline. I understand the films, but I do so through an emotional and abstract understanding, which is hard to put into words. This may not be true to everyone who watches an Ozu film. You need to be open-minded and willing to understand the meaning beyond the plot. Therefore telling the plot of an Ozu film to someone who has not watched it, will sound like a boring, repetitive story. It is in the watching of the film that you understand the meaning. You transcend the plot, characters, place, to a deeper understanding of the impermanence of life and the limits of time.

Works Cited