For the first time since February of 2016, I am back to working my way through the work of Ozu in chronological order. This one I had seen before and I had very fond memories of and re-watching did not disappoint. And, it was instructive to watch it in relation to what immediately came before it.
Ozu seems to be using "tatami" shots now in almost every shot but I wouldn't say all aspects of his signature style are present. There seem to be far more quick cuts than we find in the later Ozu, when he begins to move to very long takes. There also seems to be far more movements of the camera, primarily tracking shots to follow characters walking, but there is also a backwards tracking movement to introduce the dad at work that seems very reminiscent of Vidor's The Crowd.
Ozu's under-recognized sense of playfulness is really at the fore as is his unusually strong ability with his child actors. Without a doubt, this is also his most complex film emotionally to date, as he delves into some very rich but tricky terrain as the two boys try to reconcile what they come to learn about their father.
The 33rd Chicago Latino Film Fest – Week Two - The following should appear at Time Out Chicago sometime soon. The Chicago Latino Film Festival continues through Thursday, May 4. My best bets for the sec...
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