Banshun (1949)
Genre: Drama
Duration: 108 minuten
Alternative titles: Late Spring / 晩春
Country:
Japan
Directed by: Yasujirô Ozu
Stars: Setsuko Hara, Chishû Ryû and Yumeji Tsukioka
IMDb score:
8,2 (21.356)
Releasedate: 13 September 1949
Banshun plot
Noriko is a woman who has already passed the ideal age for marriage. All the people around her confront her about this, and try to get her to get married. Noriko doesn't like it and is especially afraid that her father, with whom she lives, would become lonely and unhappy if she were to get married.
Actors and actresses
Shukichi Somiya
Noriko Somiya
Aya Kitagawa
Masa Taguchi
Katsuyoshi
Shuichi Hattori
Akiko Miwa
Jo Onodera
Kiku
Misako
Reviews & comments
TheBunk
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- 746 messages
- 3093 votes
Only in his films after the war, from Banshun onwards, did Ozu perfect his way of filming. From then on, the uniformity of his visual language ensures a completely homogeneous whole. It may not be surprising, but it works. A misconception is that there is no action in Ozu's films. This is incorrect and the opposite is true; there is movement in almost every shot, although it almost always comes from the characters. The camera positions, framing and lack of dynamics are all essential for Ozu to convey his vision. Together with the disciplined way of directing actors and the meticulous production preparation, this method ensures a cohesive post-war filmography. The influence (see box above) of Ozu on contemporary film authors in Japan and abroad is still enormous. The greatest appeal in Ozu's films, especially the Noriko trilogy, lies in the undeniable melancholy and beauty of the mundane. It is poetry captured in imagery.
Read more at Cinema Interruptus
Translated from Dutch · View original
mjk87 (moderator films)
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- 14596 messages
- 4552 votes
Special movie. Very nice image of Japan just after the war, which under Western influences is slowly changing into a less traditional society. And the question is: what does that do to people. Very interesting and well filmed. A bit of the themes that Antonioni also has, although he shows this in architecture and Ozu this in clothing (I have not seen Noriko in Kimono) and logos. Great acting too. Hara's laugh is sometimes just over in the beginning, but then she comes back all the harder. Ryû has the most beautiful role, beautifully understated. However, the film is sometimes quite episodic. It is therefore a film that moves, but not one that pulls you in and really gets under your skin. 4.0*.
Translated from Dutch · View original
Sir Djuke
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- 374 messages
- 1037 votes
Now no longer as well known as Kurosawa, Imamura and Oshima, the influence of Yasujiro Ozu on the universal film language cannot be underestimated.
His style is characterized by the zen-like tranquility of his shots, which are often taken from a low camera angle. As a viewer, you feel like a secret spectator of often withheld family emotions. Camera movements are scarce and you get plenty of time to absorb the beauty of the scenes. Ozu's style has influenced Claire Denis and Jim Jarmusch, among others.
Two characteristic films deal with incomplete families. 1936's 'Hotori Musuko' about a single mother who sacrifices all she has to give her only son a good future (in vain) and 1949's 'Banshun' about a single father who tries to convince his daughter to get married ( that eventually works). It is remarkable that the Second World War, which is in between the two films, has no resonance. Both are stylish Ozu films, of which 'Hotori Musuko' can be found in full and with English subtitles on YouTube.
Translated from Dutch · View original
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