The Society of Friends
George Fox, the founder of the Society of Friends -- better known as the Quakers -- wrote:
"Be patterns, be examples in all countries, places, islands, nations wherever you come; that your carriage and life may preach among all sorts of people, and to them; then you will come to walk cheerfully over the world, answering that of God in everyone; whereby in them you may be a blessing, and make the witness of God in them to bless you."
and from that text, Yasujiro took this sermonizing movie. It's the story of a gangster who falls in love with a nice girl, and she with him. When she finds out what he does, however, she tells him that unless he reforms, she will never see him again. He quits the underworld, and gets a job as a window washer, but his old buddies want him to come in on a job....
Looking at Ozu's post-war movies, it's hard to picture his pre-war output. His camera is in almost constant motion. His characters wear modern clothes and travel by car, and Japanese society is not struggling to maintain its balance and traditional values, under siege by international forces. His characters seek to learn what they can from the outside world, whether they be from movie posters on the wall, or radical Western theologian. Given that Ozu was making a modern drama in an essentially Western medium, this has an inner logic. Yet the rather straightforward and optimistic attitude of this movie rings false. His stronger works in this era were more complicated, more darkly humorous, almost sardonic in their attitude when happy, and bleak when tragic.
The performances are fine, particularly that of Hisao Yoshitani as the protagonist's pugnacious and loyal friend. However, the optimism of Japanese society in this era turned out to be arrogance, and the easy answers of this movie a chimera.
"Be patterns, be examples in all countries, places, islands, nations wherever you come; that your carriage and life may preach among all sorts of people, and to them; then you will come to walk cheerfully over the world, answering that of God in everyone; whereby in them you may be a blessing, and make the witness of God in them to bless you."
and from that text, Yasujiro took this sermonizing movie. It's the story of a gangster who falls in love with a nice girl, and she with him. When she finds out what he does, however, she tells him that unless he reforms, she will never see him again. He quits the underworld, and gets a job as a window washer, but his old buddies want him to come in on a job....
Looking at Ozu's post-war movies, it's hard to picture his pre-war output. His camera is in almost constant motion. His characters wear modern clothes and travel by car, and Japanese society is not struggling to maintain its balance and traditional values, under siege by international forces. His characters seek to learn what they can from the outside world, whether they be from movie posters on the wall, or radical Western theologian. Given that Ozu was making a modern drama in an essentially Western medium, this has an inner logic. Yet the rather straightforward and optimistic attitude of this movie rings false. His stronger works in this era were more complicated, more darkly humorous, almost sardonic in their attitude when happy, and bleak when tragic.
The performances are fine, particularly that of Hisao Yoshitani as the protagonist's pugnacious and loyal friend. However, the optimism of Japanese society in this era turned out to be arrogance, and the easy answers of this movie a chimera.
- boblipton
- 17 feb 2018