Filmmaker Profile
Yasujiro Ozu
Yasujiro Ozu (12 December 1903 – 12 December 1963) was born in Tokyo, Japan. Japanese film director and screenwriter.
In 1923, he joined the Shochiku Company's Kamata Film Studio as a photographic assistant; in 1926, he became an assistant director; and in 1927, he made his film debut "The Blade of Confession".
Early life
Born on December 12, 1903, Yasujiro Ozu was born in a famous family in Shichibanchi, Kameizumachi, Fukagawa-ku, Tokyo, and loved to draw as a child. Because his father was in business outside the home for many years, Ozu rarely met his father, and Ozu did not like to institutionalize life from an early age, and was particularly rebellious against school education. He was undisciplined and developed a penchant for drinking. However, he was obsessed with American movies and often sneaked to nearby towns to watch movies without his mother.
Major achievements
Government Awards
▪ 1958 Minister's Award for Arts, Culture and Culture The Other Side Of the Flowers (Award)".
▪ 1958 Purple Ribbon The Other Side of the Flower (Award-winning)
Film and television awards
▪ 1961 8th Asia Pacific Film Festival Best Director Award Kazukazu Akihi (winner)
▪ 1959 Japan Academy of Art Awards (Winner)
▪ 1952 2nd Blue Ribbon Award for Best Director in Japanese Cinema (winner)
Directed works
silent film
Time starred in the title
1927, "忏
1928 "Young Man's Dream" Junko Matsui, Kenji Oyama "Wife Lost" Tatsuo Saito, Fumiko Okamura "Pumpkin" Tatsuo Saito "Moving Couple" Watanabe Tuko, Yoshikawa Manko "Carnal Beauty" Iida Butterfly, Kimura Ken'er
In 1929, "Young Days" Ichiro Yuki, Tatsuo Saito's "Harmony Noisy Friends" Daiichiro, Takamatsu Eiko "I graduated, but..." Takada Minoru, Tanaka Akeshiro "Sudden Little Monk" Tomoo Aoki, Tatsuo Saito "The Life of a Company Employee", Tatsuo Saito, Yoshikawa Manko "Treasure Mountain" Kobayashi 192
1930 "Stride Forward" Itariko, Hiroko Kawasaki "The Wife of the Night" Mizuko Ichimura, Okada Toshihiko "I Fell First, But..." Tatsuo Saito, Kaho Futaba "The Unjust Spirit of Eros" Tatsuo Saito, Starlight "Lucky within Reach" Tomoo Aoki, Mizuko Ichimura "Miss" Awashima Moko, Okada Toshihiko "Introduction to Marriage Studies" Tatsuo Saito, Awashima Moko
1931 "Lady and Hair" Okada Toshihiko, Hiroko Kawasaki "Beauty and Sorrow" Okada Shihiko, Saito Tatsuo "Tokyo Chorus" Okada Toshihiko, Hideko Takayama
1932 "Spring Comes from a Woman" Tadajiro Jojo, Tatsuo Saito ,"I was born, but..."Tatsuo Saito, Tomoo Aoki ,Where is the Dream of Youth Now", Egawa Urio, Tanaka "Meet Again in Japan", Okada Yoshiko, Oka Ryōji
1933 "Tokyo Woman" Okada Yoshiko, Egawa Uritsuo "Daughter of the Extraordinary Line", Tanaka Arishiro "Whim" Sakamoto Takeshi, Fushimi Nobuko 1934 "We Want to Love Mother" Yukichi Iwata, Yoshikawa Manko "Floating Grass Story" Takeshi Sakamoto, Iida Butterfly
1935 Tokyo No Juku takeshi Sakamoto and Yoshiko Okada
1936 "Good Place for University" Konoe Toshiaki and Kasasa Toshizō
talkie
1936 "Only Child" KasaChito, Tomoko Nobita, Kikugoro's Mirror Lion (documentary) Kikugoro Ogami (Shichiyō)
1937 "What a Lady Forgot" By Moko Awashima and Tatsuo Saito
1941"Koda family brothers and sisters"Hideo Fujino, Fumiko Katsuragi
1942 "When My Father Was Alive" Mito Mitsuko and Kasa Tomoyuki
1947 "Longhouse Gentleman's Record" Iida Butterfly and Aoki fart
1948 Hen in the Wind, Tanaka Atsuyo, Tuesday Sano
1949 "Late Spring" Haruko Sugimura and Tomoyuki Kasaka
1950 "Sokata Sisters" Tanaka Atsushiro, Hideko Takayama
1951 "Barley Autumn", Haruko Sugimura, Ryoko Hara
1952, "Tea Bubble Taste", Chiyo Kigure, Koji Hatada
1953 Tokyo Story Hara Setsuko, Haruko Sugimura
1956 "Early Spring" Kishi Keiko and Kasa Tomoyuki
1957 "Tokyo Twilight" Arima Inako and Fujiwara Kazuzu
1958 Higan Hana, Tanaka, Kuga Miko
1959 Hayano, Sada, Miko Kuga, Ukikusa, Nakamura Ganjiro, Kyo Machiko
1960 "Autumn Day" Kasachi, Hara Setsuko
1961, Kobayakawa Ieyuki, Nakamura Ganjiro, Hara Koko
1962"Akito no Mimi", Mariko Koda, Haruko Sugimura
Directorial evaluation
Ozu Yasujiro is a good alcoholic and often gets drunk. In addition to good wine, Ozu also loves good food. He has a food manual, a leather notebook, full of food tips. Yasujiro Ozu never married, and lived with his mother all his life.
During his lifetime, Ozu Yasujiro composed 54 works, some of which are scattered, but more than 30 still exist. Observing the happiness and sorrow of life from the subtleties, always letting the viewer experience the helplessness or clarity of life in the place of omission and blankness. Ultra-low camera composition, delicate pictures under the condensed lens, etc., construct his unique visual aesthetics.
Ozu's early films reached the highest achievements of the Japanese silent film period, and the later films still adhered to the traditional style of Japanese cinema with their consistent style. The retention of the traditional family structure and the lamentation of the lonely and frustrated life in the later years have become the dust of love in Ozu's works.
Ozu's works reflect the customs and customs of modern Japanese society. He loves life and is both compassionate and infused with infinite affection for the characters under the lens. His films inherited something that had been forgotten by American cinema and developed it as a Japanese-style beauty.
He spans the history of Japanese cinema from silent film to sound, black and white to color film, and he insists on his unchanging style in change, and this persistence has made him stay in our hearts through history! Ozu believes that movies win or lose with aftertaste, and this aftertaste can be felt in his film world.
Analysis of major works
The Only Child
"The Only Child" tells the story of a mother in rural Japan who sends her only child to a boarding school in Tokyo. Ten years later, the mother visited her son for the first time, only to find that he was just a poor night school teacher, living in a dilapidated house with his wife, and the mother was disappointed and helpless.
This film is Ozu's first sound film, also based on ethics and the relationship between the two generations, the plot is simple and concise, the director's technique is skilled, Ozu although he can only accept the sound film later, but the style has been fully presented as soon as he shoots, and the sound of the characters and the background is mixed with nature, showing the master's style. Ozu's depiction of the feelings of the two generations is particularly profound, and the story is full of thorough thinking about the times and the environment.
The film was selected for 200 Japanese business cards and won the fourth place in the 1936 Ten Best Film Awards.
Tokyo Story
"Tokyo Story" is about a lonely elderly couple in a small town, who rush to Tokyo with great interest to visit their children who have become a family. After a busy, cold, and lost reunion, the old man and his children returned to their own life trajectory.
Released in Japan in 1953, the film uses frontal switching, tight composition, and simple and neat dialogue to show that the traditional extended family system is falling apart uncontrollably...
The story is simple, the plot is gentle, but the emotions are like a trickle into the atrium of every audience, family affection is a topic that can never be avoided, and after adulthood, we suddenly become a wild horse that has suddenly become a loose wild horse with more sharp values to fight against parents and even replace them as the authority of the family.
This is not the progress of the times, this is a very cruel success, the progress of technology and the continuous satisfaction of the story can not reconstruct the family affection after growing up, as far as possible to accompany and filial piety in time will not love too late.
《Higan Flower》
Based on the novel of the same name, the film narrates the contradictions between father and daughter due to marriage and love, continuing the warm and delicate style of director Ozu Yasujiro. Most of the scenes in the film take place indoors, and they depict the memories between old friends and the disputes between fathers and daughters.
However, director Ozu presents the scenes that can be seen everywhere in these lives in a nuanced and beautiful way, making people feel a kind of intimate atmosphere, and at the same time experiencing the deep emotions behind them.
Director Ozu is very good at using low-angle photography that is like sitting on a tatami mat to tell the trivial life of Japanese families, and mostly focuses on the elderly with good hearts, and the family conflicts are often calmed down in the introverted rhythm.
"Autumn Peace"
The film mainly describes the remarriage and marriage of a mother and daughter. Although the daughter Ayako and Goto fall in love, they have been hesitant to marry because of their mother's situation, and Akiko's husband's former friend also intends to complete Akiko, but Akiko finally decides to be with her deceased husband, and Ayako and Goto finally walk on the red carpet after various misunderstandings.
The film is surprisingly bland, a film that anyone can enjoy with peace of mind; it can bring joy to people, make people get entertainment, there is no element of instability in it. The dialogue of the film is condensed, humorous, peaceful, and conflict-free, reflecting the director's artistic pursuit in dialogue and reflecting the atmosphere of life of Japanese civilians living and working in peace and contentment after the war. Shooting basically takes place indoors, with almost no location shooting. The mother and daughter traveled and saw the wonderful island through the window. This visual vision brings the audience into the realm of enjoying beauty.
The Taste of Saury
The film "The Taste of Saury" is Ozu Yasujiro's last work, and it is the wisdom and summary of his life. Ozu uses a simple and light style and a camera that is not moving, creating a peaceful world of "not happy with things, not sad with oneself". There is humor everywhere in daily life, but the whole film has a strong tragic meaning to the remembrance of the passage of life, delicately showing the psychological state of the elderly, which is Ozu's unique experience of his life, but it is full of care for the whole life.
The film inherits the usual bland and timeless style of Ozu films, and like Ozu's other films, the details of the film are particularly interesting, and every small point and every action is difficult to leave.
"The Taste of Saury" focuses on the trivial and oriental daily life, compared with "Tokyo Story", "The Taste of Saury" is less sentimental, although the loneliness is spread throughout the film text, and the work is still to the point when it carefully touches on topics such as aging and death. In the silent stretch of film, the story slowly flows out. It is said that the parents are short, but the feelings contained in them are intriguing and evocative, and the delicate film brushwork is even more touching.
Director's keywords: ultra-low camera composition, fixed shots, the retention of traditional Japanese family structure, the aftertaste of the film, breaking the convention, the unity of internationality and nationality, the early is a light and funny comedy, the beauty of silence and sadness, the impermanence of life and the indifference of seeing everything in the world. The spirit of "material mourning", oriental aesthetics.
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