Tarde de otoño

This is Ozu's last film, and it is wonderful. At first, I wondered if it could be even good. It has similar themes of other, amazing films like "Late Spring" and "Early Summer", both of which had the truly amazing actress Setsuko Hara, who is not in this film. However, this film is just about as great as them, since it has one of the best acting performances of terrific Ozu regular Chishu Ryu. He plays the father, a widower with three children, two sons and a daughter. It is no surprise to me that the daughter Michiko, played by Shima Iwashita and Akiko the daughter in law, played by Mariko Okada, have had such long, varied careers in cinema. They are great in their roles. There is a certain sass to both of them which really comes across in their characters. They are also both beautiful. The story also has a great sideline, in which Mr. Ryu's old friends help out an teacher, nicknamed "The Gourd". From there, you meet the teacher's daughter Tanako, a familiar face to all Ozu fans. I was deeply affected by Tomako, even though her role is small. I feel her sadness and loneliness. Another great scene is when the father meets up with an old armed services buddy and they go to a local bar and play a war march. They are a bit drunk, and they salute. Playing the barmaid is the great actress Kyoko Kishida, star of the great "Manji" and "Woman In The Dunes". I was deeply interested in the lives of these people, and find the film to be just wonderful, displaying the emotions that a great Ozu film possesses. This film is profoundly moving. I would not start with this film as an introduction to Ozu, only because "Tokyo Story", "Late Spring" and "I Was Born, But" are such masterpieces, but this ranks with them. A deeply profound, excellent epitaph from Yasojiro Ozu, one of the greatest directors ever, from anywhere at any time. See it, you will not be disappointed. Rest in peace, Yasojiro Ozu.

Ozu's final film is his most visually beautiful, and among his most somber. Aside from "Tokyo Story," "Late Spring" and "A Story of Floating Weeds," this is my favorite Ozu film. There are several stories at work in this movie, but the primary involves a middle-aged father whose adult daughter is reluctant to marry. Long detached from her, the father realizes, only too late, that with her departure, goes the happiest chapter of his life. Ozu's style is extremely refined at this point, and "An Autumn Afternoon" shows the director at the height of his artistic prowess. As such, this movie is a terrific introduction to Ozu, and it is a rewarding farewell for fans. Visually speaking, this one is a stunner, and every frame of the movie is a stand-alone composition. Many of the Ozu stock company make appearances, including Chishu Ryu and Keiji Sada, as well as some new faces, such as Kyoko Kishida from "Woman in the Dunes." The story is a classic Ozu meditation on family, marriage, and nostalgia, and the ending is among his most remorseful. If you appreciate Ozu or are just curious about this quiet master, "An Autumn Afternoon" is a great choice. This film is a serene, graceful masterpiece.

I can whole-heartedly relate to previous reviewers' sentiments about this movie. From my own perspective it is also an awesome celebration of beauty. The theme is the same Ozu's favorite—separation of father and his grown-up daughter-- however it is presented in a different, less nerve-wrecking and more humorous way (as compared to Late Spring), but most of all -- within the colorful kaleidoscope of everyday things looking as works of art in themselves. Ozu rejoices in showing the beauty of such mundane objects as mugs, bowls, kimonos, tables, lamp shades, houses, fences, even industrial chimneys and such. Colors and shapes are arranged into perfect compositions and sometimes it seems that still objects actually govern the mood and the flow of people around them. The parallel with Tarkovskij's movies, like Solaris and Stalker, where the harmony of individual objects creates its own layer of movie symbolism, seems natural, only Russian movies were shot more than a decade later. I watched An Autumn Afternoon several times with the same joyful interest and gratitude for the gift of showing us the beauty of everyday life.

I have seen many visually beautiful and emotionally moving films, but not as many recently. An Autumn Afternoon is one of those primary examples. Meditative in its pacing it is, but it is never dull. How everything is made and written really makes an interesting and very rewarding experience indeed. It is incredibly well made to start off with, the camera is kept at low angles and is still, but for me this allowed me to explore and really admire the scenery and the framing which are very elegantly done. Kojan Siato's score is one of those soothing and unobtrusive scores that helps the audience to connect with An Autumn Afternoon's gentle mood. How An Autum Afternoon is written is also exceptional, as well as the gentle tone, the story has this great warmth, wisdom and humanity. As well as Ozu's meticulous as ever direction what is also great about An Autumn Afternoon is the lead performance, Chishu Ryu's performance is dignified and altogether very touching. In conclusion, not just one of the cinema's greatest swan-song but a masterpiece of a film also. 10/10 Bethany Cox

A sensitive film which observes a widower and his family as they navigate through their days and nights in post-WWII Japan, a place where etiquette and custom are still important and individuality counts for less than it does in the U.S.A. We witness a world where unmarried women are expected to take care of their partner-less fathers and brothers.

This film features excellent use of color, especially the placement of yellows and reds.

"An Autumn Afternoon" grows on you as you slowly, steadily work your way into the lives of Mr. Hirayama and his family; it's as if the camera were a guest gaining the acceptance of the major characters.

Will Mr. Hirayama come upon his own personal autumn afternoon - a state of philosophical clarity where he can discern things soberly and make a wise and compassionate decision?

A must-see for devotees of Japanese cinema, director Ozu, and those who love quiet, gentle films.