Asian Cinema Challenge 2023 | 29/52 | Directed by Yasujiro Ozu
After school, four boys return home — Minoru, Kozo (Ko), Zennosuke (Zen), and Minoru’s little brother, Isamu. All the boys live close to one another in the same neighborhood, sharing in their love of fart jokes and sumo wrestling.
Meanwhile, their mothers deal with a conflict in their women’s association, where all are sure they have paid their dues to the chairwoman, Ko’s mother, Mrs. Haraguchi, but she denies it. They indirectly gossip behind one another’s backs, rather than confront Mrs. Haraguchi directly, lest it upset her.
The boys regularly get in trouble for sneaking over to the Maruyamas’ because they have a TV on which the boys can watch sumo wrestling. The mothers don’t associate with the Maruyamas, in part because they believe the wife, Midori, used to be a cabaret singer. Also, they’re always hanging out in their pyjamas. So Minoru and Isamu beg their mother for a TV, but she flatly forbids it.
Minoru and Ko go to Heiichirô Fukui’s home, their English tutor, who is otherwise out of work since his company folded. The boys show him the fart trick, revealing they learned it from Zen’s father, Zenichi. Minoru’s aunt, Setsuko, also hires Heiichirô to translate some work for her. Heiichirô’s sister suggests he marry Setsuko, but, out of work, he doesn’t feel worthy.
The film follows these threads as the women become entangled in a comedy of manners, while the boys begin a silent strike against adults and their pointless niceties.
— I want a TV set.
— That's too much talking.
— It's grown-ups who talk too much. "Hello." "Good morning." "Good evening." "Fine weather, isn't it?" "Yes, it is."
— Idiot.
— "Where are you off to?" "Just a ways." "Is that so?" Just a lot of talk. "I see, I see." What's there to see?
— Shut up! Be quiet.
— Okay, I will.
The movie retains Ozu’s elegant, low compositions, grounded performances, and slice-of-life storytelling. What is different from other Ozu I’ve seen is that, one, the film is in color, and two, the story has much more comedy driving it.
Ozu was often seen as an idiosyncratically Japanese filmmaker whose films primarily reflected the Japanese concept of mono no aware, or the gentle, bittersweet sadness and appreciation for the impermanence of life. Here, Ozu sees Japan as if it were an American sitcom, with miscommunications, childhood mischief, and oddball characters.
Thematically, the film explores Western consumerism and its impact on people’s everyday lives. The women covet a washing machine. The boys covet the television. Meanwhile, some men in the neighborhood become door-to-door salesmen, some trying to make ends meet after retirement, all of them selling goods to families whose material needs are already met. However, it also reflects the younger generation’s discontent with the emptiness of small talk and desire to see the outside world, if only to know if there is something more to life.
The film may contain more sweets than bitters, but its effortless humor and honest reflection make for a delightful watch.
Stray Thoughts / Spoilers
- I remember trying to take vows of silence as a kid (or “bows of silence” as I called them at my youngest). I don’t think I ever lasted more than a few hours.
- There’s also a recurring gag: every time Mr. Ôkubo farts, Mrs. Ôkubo enters, thinking he’s called her.
- Isamu is unbearably cute, saying “I love you” in English instead of saying “sayonara” for goodbye.
- Isamu’s “okay” sign bit is fantastic.
- I love it when Minoru tries to mime what he needs, and his aunt seems almost willfully to misunderstand.
- “Let’s not eat pumice stones anymore.”
- Roasted Sweet Potatoes
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