Sunday, May 24, 2015

I Graduated, But... (1929)

Ozu's next surviving film only had several minutes of footage left that I was able to find. 

Personally I had some difficulty in the version I saw completely following the plot and I even watched the "eight minute film" again to see if I could get a better handle on it.  Like Fighting Friends, only several minutes remain but even those few minutes gave me a handful of things I would like to quickly touch upon.

The first is the fact that so far, through the first three surviving works, none yet has any real sign of the long take style that would eventually become a trademark of Ozu's approach. 

This film again contains an American film poster, this time it is a Harold Lloyd movie, and also what appears to be the very same piece of college pennant decor that shows up in Days of Youth.  I believe it was Renoir that once said he was virtually making the same film each time out but simply trying to improve upon the result.  I have never read that Ozu was operating from the same goals and objectives.  But in seeing these first three works for the first time and combining them with the ten or so Ozu viewings I had prior to beginning this exercise I can say with some confidence that I know of no other filmmaker (and maybe artist period) whose work becomes hard to recollect in terms of individual works.  In other words, it becomes difficult to remember exact storylines from his films and to separate one film from another in his body of work.  Part of this has to do with the similarity of titles but now I am beginning to feel there is also an extraordinary similarity of plots and perhaps even similar locations and props to further complicate matters.  In this way he becomes a bit like Eric Rohmer in my mind, a filmmaker with a very narrow but focused filmmaking mission.

Lastly a shot that stood out was the main character tearing up a piece of paper as the camera remains on the shreds of paper falling into frame. i.e. a shot of off-screen action.  This restraint and choice not to record all traditionally considered narrative action seems to become more and more a part of the Ozu approach as his career deepens.  We will keep an eye out.

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