I am back to working my way through all of Ozu's work chronologically. This next entry, Tokyo Chorus, seems to be the first-blown emergence of the style most people think of when they think of the filmmaker. Nearly the entire film is shot tatami-style and with a static camera.
Thematically Ozu also seems to be hitting his stride. There are moments that hint at his skepticism towards technology, the son's plea for a bicycle, and other moments that indicate Ozu's buddhist nature, the main character's line, "A bear getting out isn't going to change our lives." Ozu's humanism is also more evident than it has been up to this point, the evolution of our main character's feelings towards his professor and the wife's compassion and ultimate offer to help her husband with his new responsibilities.
Lastly, of interest, is the fact that for the first time gone are the abundance of allusions and visual references to American culture. In fact, the only blatant reference I noticed was a casual mention of (Herbert) Hoover at one point.
Midnight’s Child (1992 TVM) - | Kate’s not wanted any more, Gonna throw her out the door. | US / 89 minutes / color with some bw / Victoria Principal, Jeff Myrow–David Gottlieb, Polone,...
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