The first Ozu film I was unable to find with English subtitles so I was forced to watch it the Langlois way and focus almost entirely on its form.
Again I was surprised to see the flagrant American references - pennants bearing the names Michigan, Ohio State and Yale and yet another American film poster, this one from 1929 for the film Charming Sinners. It has been shocking so far to see so many allusions to American culture since Ozu is considered one of the most Japanese of all Japanese filmmakers. I am still not entirely clear if the references are homages or warnings to the threat of Westernization. Either way they show up in very flagrant ways in almost every single one of Ozu's early works.
It is also surpising yet again to see Ozu utilize tracking shots. It seems later on that Ozu will move away almost entirely from using any movements at all of the camera. In these early works however Ozu at least seems curious about the potential information such moves can convey and utilizes them with little but some frequency.
There is also Ozu's playfulness again on display. Like in Walk Cheerfully, the close friends have little dances and secret moves they like to occasionally break into. These tiny little flourishes suggest a certain lightness in Ozu's sensibility but also underline what I am starting to feel is one of his key themes, solidarity.
As the main character's friends go off to celebrate their graduation success and we remain with the character who did not pass his exit exam, Ozu gives us one of the first glimpses at a hallmark piece of his style, the extreme low-angle shot. This moment is the perfect utilization for the shot as it creates deep empathy with our main character at an extreme low point for him. It will be interesting to see if the "tatami shot" will start to show up in every Ozu film moving forward.
Lastly I want to mention the first lengthy cheating scene in the classroom as the most sustained and accomplished scene at this point in Ozu's cinema. He creates great tension and sustains what is almost comparable to a Chaplin or Keaton gag. Ozu's rhythm and storytelling shine and the scene is wonderfully entertaining.
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