While many filmmakers embraced the innovations in sound and filmic world-building brought forward by artists like Lang and Welles, Yasujiro Ozu’s work conjures a certain purism reminiscent not only of the silent film period, but of the early years of cinema which more closely resembled a stage play. A good example of this is Days of Youth (1929), Ozu's earliest surviving film. Though many filmmakers, even ones considered arch-traditionalists like Yasujiro Ozu, were influenced by Americans, the content of Japanese cinema … His film The Hidden Fortress is often viewed as a narrative predecessor to the first Star Wars film. It could, from premise alone, sound like an Austen-ish comedy of manners, and perhaps the film that Ozu might have made early in his career. Restored and in some cases newly subtitled, they are a treasure. Any dystopian feature as well as any film to feature humanoid robots all owe a debt to Metropolis, whereas the legacy of expressionists at large can be seen in the brooding colours of Douglas Sirk’s and Dario Argento’s films, as well as Jean-Luc Godard’s Le mépris (in which Lang plays as himself, incidentally); as well as the melancholy aesthetics and design of Tim Burton’s films. This setback mattered not, for Chaplin never struggled to convey sentiment and story through sight alone. To Ozu, there is no( what the Lumière’s referred to as) hors-plan, or off-screen/out of frame. READ MORE: Criterion Preps Yasujiro Ozu Boxset, And Films From Jean-Pierre Melville & Carol Reed For April. Gregory Nava received an Oscar nomination for Best Original Screenplay for his film El Norte.He has also directed such movies as Selena, Bordertown, Mi Familia and more. It’s in many ways the perfect entry point to Ozu, exemplifying so much of what’s special about his work, especially in the almost untouchable third act of his career. No one can deny Eisenstein's importance, and that is why he is still studied 60 years after his death. Interviews with leading film and TV creators about their process and craft. Get The Latest IndieWire Alerts And Newsletters Delivered Directly To Your Inbox. The most prominent themes of Ozu's work are marriage and family, especially the relationships between generations. His dynamic camera use and editing techniques challenged the conventions of film temporality in his era. Ozu, who lived with his mother until her death in 1962, died of cancer on December 11, 1963, just shy of his 60th birthday. His camera is almost invariably set at a low angle, as if from a low sitting position and looking up at the characters. https://screenrant.com/yasujiro-ozu-best-movies-japanese-cinema After the Oscars, Here Are Some of the Biggest Questions Facing the Film Industry in 2021, How to End ‘The Handmaid’s Tale’ — TV Podcast, ‘The Underground Railroad’: How Barry Jenkins Uses Camera Movements to Capture the Active Inner Life of Enslaved People, ‘Judas and the Black Messiah’: How to Create a Visual Epic with Not Enough Resources, Why ‘Nomadland’ Cinematographer Joshua James Richards Is Also the Film’s Production Designer, 40 Must-See New Movies to See This Summer Season, The 7 Best Movies New to Netflix in May 2021, Oscar Winners’ Next Moves: How Chloé Zhao, Daniel Kaluuya, and More Plan to Follow Their Wins, Warner Bros. vs. Netflix: Streamer Gives Creative Freedom, Data, and ‘Real Partnership’ to the Snyders. Widely regarded as the father of the art of montage, Eisenstein recognized that stylistic editing was not only a useful tool in building the rhythm and flow of a film, but that particular montage could have thematic and ideological significance. Lang’s expressionist-era magnum opus is undoubtedly Metropolis; a work groundbreaking in its contributions to set design and science fiction. It’s the sly social satire, which packs an unexpected emotional punch, that really elevates this, the director using his modest story to unpack larger truths about the culture of the time. The West was slow to embrace Ozu's films, which did not appear in foreign theaters or film … The adage that good artist copy and great artists steal is in practically cliché at this point. ... Ozu was a filmmaker … Ozu was a master in what is called gendaigeki, a genre of Japanese media that deals in contemporary drama about modern Japanese life. A prime example of this is the scene in Citizen Kane (a film equally groundbreaking in its use of non-linear storyline), where instead of alternating between two simultaneous scenes as pioneered by Griffith, Welles shoots the sit-down between the parents of Charles Foster Kane and banker Walter Parks Thatcher with the living room window in the background; out of which we can see a young Kane playing with his sled while his parents negotiate Thatcher’s raising of their boy. As long as they have sources and as long as they are reputable directors themselves, the list could be theoretically endless. Noted works include Paris, Texas and Wings of Desire . https://screenrant.com/directors-that-inspired-martin-scorsese With “Early Spring” playing until the end of the week. The longest extant version of cine auteur par excellence Yasujiro Ozu features a rambunctious child actor that steals the show. After the war, Ozu returned to filmmaking with two movies that in many ways stand out as atypical in his filmography — 1947’s “Record Of A Tenement Gentleman,” and 1948’s “A Hen In The Wind,” respectively about children made homeless by bombing raids, and about soldiers returning from the war and reuniting with their families. READ MORE: Watch: 17-Minute Video Essay Explores The Depth Of Simplicity In The Films Of Yasujirō Ozu. Copyright © 2021 Penske Business Media, LLC. Influenced Filmmakers Around the World. Cinema and spectacle have been intrinsically linked since its genesis, and it wasn’t long before entertainers and wizards like Georges Méliès discovered that the moving picture wasn’t limited to a glorified stand-in to the stage performance, but could be exploited in fantastical ways. Influenced by Roland Barthes’ S/Z and by some resemblances of Ozu’s work to Robbe-Grillet, I had argued that Ozu was a “modernist” filmmaker. The Influence of Yasujiro Ozu on Wim Wenders and Peter Handke By Kathe Geist W im Wenders, West German film-maker of increasing renown, has declared that Japanese filmmaker Yasujiro Ozu is his "only master,"'I although Wend-ers did not actually encounter Ozu's films until 1973. As a result, Chaplin became one of the few filmmakers to so defiantly resist “talkie” cinema. www.tasteofcinema.com/2018/the-20-most-influential-filmmakers-of-all-time While many filmmakers embraced the innovations in sound and filmic world-building brought forward by artists like Lang and Welles, Yasujiro Ozu’s work conjures a certain purism reminiscent not only of the silent film period, but of the early years of cinema which more closely resembled a stage play. These two films are still somewhat overlooked (rather unfairly, particularly in the case of the latter), but it’s perhaps understandable given that they were swiftly followed by “Late Spring,” the film that set the tone for the final act of the director’s career, and which is almost indisputably counted among the finest of his masterpieces (the most recent Sight & Sound poll named it the fifteenth greatest film ever made). If you go down to NYC’s Film Forum this week, you’ll find a cinephile treat: a new 4K restoration of “Late Spring,” one of the finest films from Yasujirō Ozu, one of the finest filmmakers that ever lived. But the film that arguably first marked him as a major talent, and that began something of a shift in his career, does survive, and it’s still one of his very best. Debate over Ozu's intentions and style. His camera is almost invariably set at a low angle, as if from a low sitting position and looking up at the characters. All rights reserved. The title of engineer or technician would be a more apt description of Alfred Hitchcock’s filmmaking duties rather than merely “director”. Ozu’s compassion hadn’t been lessened in time: if anything, we understand every character’s position a little more clearly the second time around. Rossellini, along with other neo-realists such as Vittorio De Sica, crafted a more representative vision of Italian life both during and after the war; depicting the toils of the Italian working class against a war-torn backdrop populated by mostly non-professional actors. With live-recording of piano accompaniment provided by Mie Yanashita, recorded at Toy Film Museum, Kyoto, on February 22, 2021. https://www.indiewire.com/2016/03/5-essential-films-by-yasujiro-ozu-263749 Stay on top of the latest breaking film and TV news! However, a close examination of Schrader’s latest film, First Reformed (2017), reveals a number of elements that it shares with the transcendental films of Japanese-filmmaker Yasujiro Ozu. To those who never quite get the taste for him, Ozu made the same movie over and over again: quiet, understated dramas that often felt like variations on the same theme, using his trademark semi-austere, observational style (including the tatami shot, with the camera looking up at the actors from the ground) over and over again. OZU East Kitchen, located in Los Angeles’ Atwater Village neighborhood, is a fast-casual pan-Asian concept from new restaurateur Paul Yi.. Influenced Filmmakers Around the World. Expressionism is the art of externalising the internal. “Tokyo Story” sees Ozu at once both quiet and angry — Yamamura and Sugimura’s selfishness engenders a fury in the viewer that’s rare for the director — and arguably in a more conciliatory place, with Noriko generously defending her brother and sister-in-law in the film’s famous final moments. Méliès may have been the first to merge film and fantasy, but it was German expressionists such as Fritz Lang that expanded the boundaries of how a fictional world could be. … Much like classic Lumière short films such as L’Arroseur arrosé, Ozu strives to contain the entirety of his cinematic world with in his shots, with the main action at dead center. Sign Up: Stay on top of the latest breaking film and TV news! It wasn’t until years after his death in 1963 on his 60th birthday, however, that Ozu came to be regarded by filmmakers, historians and critics as an all-time-great filmmaker. Join Gregory this Friday, Nov. 20, for a program of unique home movies curated by the Academy Film Archive.. As ever, life bursts in from outside the frame: this isn’t so much a story as it is a slice of reality. A Japanese master’s early silent film influenced by American slapstick, about a young boy all too happy to be kidnapped. These are all films that—to borrow a phrase from the director Claire Denis—grew under the shade of Ozu.” Ozu’s influence on Denis can be seen in her film 35 Shots of Rum. 4 Yasujiro Ozu Another iconic Japanese director, Yasujiro Ozu made numerous family dramas between the late 1920s and early 1960s. We could keep going all day on Ozu’s finest work, and we hope to return to him with a more comprehensive retrospective down the line, but if you’re looking for more after the five above, we’d also recommend the early, crime-themed trio of “Walk Cheerfully,” “That Night’s Wife” and “Dragnet Girl,” the sweet “Passing Fancy,” the heartbreaking “The Only Son,” which was his first talkie, the wonderful marital-strife drama “The Flavor Of Green Tea Over Rice,” the aforementioned “Early Summer,” “Late Autumn” and “Equinox Flower,” and elegiac late films “Tokyo Twilight,” “The End Of Summer,” and “An Autumn Afternoon,” among many more. Because his self-imposed rules were followed comprehensively, we can presumably find them in any part of Late Spring. Their eldest son and daughter (So Yamamura and Haruko Sugimura) both married, treat their parents mostly as an inconvenience, with only Noriko (Hara again), who was married to their son before his death, paying them any attention, and soon, the children will find that it’s too late. Not only was Yasujiro Ozu’s Tokyo Story ranked the third greatest film ever made in the critics’ poll (right below Vertigo and Citizen Kane), it came in first place in the directors’ poll. The West was slow to embrace Ozu's films, which did not appear in foreign theaters or film festivals until the 1960s, shortly before his death.
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