In this ongoing exploration of Ozu, I have focused more on tracking the evolution of his style rather than his thematic interests. Here though it is interesting to see him taking on themes and ideas as diverse as the criminal with a conscience, the absence of the parent and the struggle for civility in a corrupt, criminal world.
Formally, a few quick notes I would like to mention. Signs pointing back to Western culture are once again abundant, whether it's movie posters for The Champ or All Quiet on the Western Front, Victrola record players, fight posters for American boxers such as Jack Dempsey or American quotes hanging on walls in different locations. It is also interesting to see that, like I have noted in some of the immediately preceding films, there are a number of tracking shots that Ozu seemed to abandon later on his career. I also noticed at least one crane shot, which is the first I have seen in his work. By this point in his career, Ozu's shots are also notably seeming to last a little longer and filmed mostly tatami-style. And, there are a few of what would become signature ellipses for Ozu.
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