El hijo único

It's quite striking that although this film was made 17 years before Tokyo Story, all the aspects of the film-making style we have come to associate with Ozu are already fully present. But compare this film with, say, his "Sono yo no tsuma", made just six years earlier in 1930: in that film --- a rather slavish attempt to copy the style of German Realism -- none of the visual and narrative features he shows here are present.

No one has mentioned (so I will...) -- that the German film which Ryosuke takes his mother to see (in which she falls asleep, and of which he self-referentially says "this is what they call a talkie") is Willi Forst's 'Leise flehen meine Lieder' (Vienna, 1933), and the lovely blonde actress seen running through the wheatfields is Louise Ullrich. This film (now largely forgotten) was a popular sensation in Europe at the time, depicting the love affair between Franz Schubert and the Countess Eszterhazy. Also... noticeable in a few scenes in Ryosuke's house is a large travel poster which says 'Germany'. All of which shows the extent to which European film-making was in the mind of the young Ozu. We think of Ozu as a purely "domestic" Japanese director (in every sense of that word), but in fact he was well-versed in the traditions of western film-making.

"The Only Son" is Ozu's first "talkie" - and utilizes sounds/dialogue in a stylistic manner to tell a simple story. The beautiful simplicity that pervades the piece is classical Ozu, and amplifies the poignant tale of a mother coming back to visit her son, after sacrificing her livelihood to ensure he achieves higher education. When she realizes that he is unsatisfied with his life as a night-school teacher, a general melancholic tone begins to unfold through the progression of the narrative.

There are some fine indoor shots of the house where the son lives, and also, some greatly composed scenes of the run-down industrial neighborhood where the son goes out to buy "noodles" from a nearby stand. What's also memorable about the film is its excellent rendition of outdoor nature shots, one scene stands out in my mind where the son is having a discussion with his mother. There is also a great shot of the night-school teacher looking out dismal and lonely from the school-building to a city sign, which is juxtaposed against a dark, night sky.

The ending is nicely done, and overall, the film is crafted in that spare, simple perfection that is the stylistic hallmark of Ozu's cinema.

"The Only Son" is Ozu's first "talkie" - and utilizes sounds in an efficient, restrained manner to help tell the story with calm grace. The beautiful simplicity that pervades the piece is classical Ozu, and amplifies the poignant tale of a mother coming back to visit her son, after sacrificing her livelihood to ensure he achieves higher education. When she realizes that he is unsatisfied with his life as a night-school teacher, a general melancholic tone begins to unfold through the progression of the narrative. The ending is nicely done, and overall, the film is crafted in that spare, simple perfection that is the stylistic hallmark of Ozu's cinema.

Of all the major directors in the world, Ozu was the last one to convert to sound; "The Only Son" was his first "all-talkie" film (in 1936), and it is remarkably inventive (technically) as well as deeply moving. Once again, his film deals with family dynamics: in this case, a widowed mother who has worked selflessly to provide her son with an education. But when she goes to visit him, she finds that he has not fulfilled his promise: he's stuck in a mediocre job, he has a wife and child and can't make any drastic changes because of his responsibilities. The ways that the mother and son try to reach an understanding, and their mutual resignation to the disappointments of life, create a glancing but powerful sense of that "quiet desperation" which was so often Ozu's theme.

This is a nice piece of work from early Japanese cinema that's worth checking out for all fans of this period's films.

The plot is simple, nothing really special if you ask me, but Ozu sure knew how to handle this kind of simple stories he portrayed in all his films. It's a slow-paced film, which adds a more natural feeling to it in my opinion, full of powerful and emotional images supported by a really splendid and natural acting (as usual in Ozu's films).

Ozu really stands out from many other directors, he had the ability to portray life on screen and here you can definitely see it.

At first this kind of filmmaking didn't do much for me, but it has really grown on me with time. It surely is not for everyone; Ozu is just different cinema.

My score: 8.5/10