Noriko’s wedding day arrives. Even if you marry for love, you never know what you're getting. Choose an adventure below and discover your next favorite movie or TV show. Once, when the distinguished character actress Haruko Sugimura asked the director what her character was supposed to be feeling at a given moment, Ozu responded, “You are not supposed to feel, you are supposed to do.”[107]. [178][179], In 2003, Shochiku marked the centennial of Ozu's birth by releasing a Region 2 DVD of the film in Japan (with no English subtitles). Her two most important traits, which are interrelated, are her unusually close and affectionate relationship with her father and her extreme reluctance to marry and leave home. Enjoy the videos and music you love, upload original content, and share it all with friends, family, and the world on YouTube. "After everyone has left the room… [Ozu] ends the sequence with a shot of the empty mirror. In the second, Noriko takes advantage of a conversational opening [about marriage] to overturn the entire plot... she accepts a man [as husband] she has known for a long time—a widower with a child. Simply put, Deleuze sees the vase as an image of unchanging time, although objects within time (for example, Noriko) do change (e.g., from joy to sadness). "[147] He called the characters played by Ryu and Hara "immensely affecting—gentle, loving, amused, thinking and feeling beings,"[147] and praised the filmmaker for his "profound respect for [the characters'] privacy, for the mystery of their emotions. Shukichi admonishes her, saying that she must embrace the new life she will build with Satake, one in which he, Shukichi, will have no part, because "that’s the order of human life and history." The director, Daisuke Goto, claims that the film was strongly influenced by, among other works, Late Spring. )[72] Prof. Somiya treats Aya, the divorcee, with unfailing courtesy and respect, implying a tolerant, "modern" attitude—though one critic suspects that a man of Shukichi's class and generation in the real-life Japan of that period might have been considerably less tolerant. Sato quotes Tomo Shimogawara, who designed the sets for The End of Summer (though the description also clearly applies to other late-period Ozu films, including Late Spring): "The size of the rooms was dictated by the time lapses between the actor's movements... Ozu would give me instructions on the exact length of the corridor. "[41], On the other hand, Late Spring, more than any other film Ozu made, is suffused with the symbols of Japanese tradition: the tea ceremony that opens the film, the temples at Kamakura, the Noh performance that Noriko and Shukichi witness, and the landscape and Zen gardens of Kyoto. Noriko is in a sitting position, while Aya is seated at a slightly higher elevation, so Aya is looking down towards her friend. Noriko’s Aunt Masa appears in scenes in which she is associated with traditional Japan, such as the tea ceremony in one of the ancient temples of Kamakura. "[78], Late Spring is the first of several extant Ozu films with a "seasonal" title.

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