It’s been a number of years since I’ve seen a Kobayashi film, but from what I recall, this is very much on point for him: an individual vs. an unjust society. But my reservations have to do with the displaced anger it aroused in me—in support for the characters and their plight, but disconnected from the narrative. I can’t shake the feeling that a modern sense of values was placed on top of a historical period where it doesn’t completely…
Thank you for your letter.
I really enjoyed hearing from you.
It’s already November.
I wonder how many years it’s been since I stopped remembering.
My mind is a blank.
I have no idea what kind of day I’ve had, but I’ve decided to stop brooding.
Even if I don’t know the past, I’ve decided to look to the future.
If, by chance I’ve already sent you this letter, please excuse me.
I don’t see a copy, so I wrote…
How do I approach a movie considered to be one of the greatest of all time? Especially as a huge admirer of Ozu I find it difficult to pick out the qualities which have caused Tokyo Story to be heaped with disproportionate praise. I think it is a great film—one of his best—but is it the best? It was the first Ozu film to see widespread success in America and Europe starting in the 70s. It is not clear to…
You'll notice in Ozu films that any time a character is in an office they hardly ever work. Maybe they write a few things down, but usually they are looking off into space or are on screen only long enough for someone to come in and start talking to them. Early Spring is a movie entirely about an office worker and his colleagues, yet somehow all of them are shown far more out of the office—on a hike by the…