Flor de equinoccio

Equinox Flower was Ozu's first color film. He was reluctant to do it, but he shouldn't have been. He handles the addition so well. The colors really do join every scene together. Equinox Flower deals with one father's hypocritical view of love and marriage. It begins at a wedding where Hirayama makes a speech to his friend's daughter. He says how lucky they are to be able to choose their own partner. He does this in front of his wife in a very awkward moment. Hirayama and Kiyoko's relationship is interesting. They make their marriage work, even if there wasn't love there at first. They work together and never feel that they are trapped in this relationship. Despite his new world views during this wedding, once his daughter announces she wishes to marry a man, Hirayama is opposed. His hypocritical views are the cause of much comedy. He is also forced to face his prejudices as he finds a daughter of an old friend who has run away to be with her struggling musician boyfriend. Hirayama is supportive of everyone but his own daughter. Again though, with Ozu's eloquence, Hirayama is not a villain. It is understandable that he has different views concerning his own daughter. A group of men sit around and discuss the differences between sons and daughters. The growth of the whole family is well plotted and emotional. It's another wonderful and gentle deconstruction of Japanese family values.

This is Ozu's first color film, and also one of his more lighthearted later films. It also stands out as perhaps his first film where he unambiguously takes the side of rebellious youth over the wisdom of age.

In a universally great cast, Shin Saburi plays a typical Japanese father - a successful executive with a nice home life, two lovely daughters, and a dutiful wife. He is, by the standards of the time, an open minded and liberal man who, we see from the very beginning, welcomes the idea of a marriage based on love, rather than the more traditional arrangements, such as his own marriage. He is also very much a hypocrite as he (provoked by a clumsy attempt to ask for his hand) refuses his elder daughter permission to marry the man she loves. His objection to the marriage has less to do with the suitor than, it seems, his feelings that his paternal authority has been undermined.

As with all Ozu films, it gradually meanders to its close with a general acceptance by all the characters that life goes on and that only by tolerating each other can society move forward. The tone of the film is more comic than usual (some very amusing scenes), and it lacks the emotional punch of some other Ozu films. It is a bit more loosely plotted than usual, with an unusually contrived plot by Ozu standards, but its still a pleasant and wise film.

One standout performance is the quietest of them all - the great actress Kinuyo Tanaka plays the traditional wife. In one crucial scene, the camera lingers on her face as she is quietly absorbed in listening to music on the radio - telling us all we need to know about this woman who has sacrificed her individuality for her husband and family. It is in little moments of magic like this that Ozu films show why they are essential viewing - this film, while not one of his major works, is no exception.

Businessman Wataru (Shin Saburi) is continually approached by his friends and co-workers for advice and help, especially when it concerns potential marriages for their daughters. He is approached by Mikami (Ozu regular Chisu Ryu) who is concerned that his daughter has gone off with a man from a lesser family with a low-paid job. He agrees to meet her and try to talk some sense into her. One day at work, he is approached by a man named Maniguchi (Keiji Sada) who asks for his daughter's hand in marriage. Wataru is horrified that his daughter Setsuko (Ineko Arima) has been seeing this man without his knowledge, and insists that marrying him is not the right decision.

Japanese master is again on familiar ground with this gentle drama. Again, he explores themes of family, and change in a post-war Japanese society. Wataru is not a traditionalist by nature - he is generally quite open-minded, but only when it comes to his friend's families. When he has tea with one of Setsuko's friends, she explains how her mother is obsessed with finding her a match with a man with a decent job and background. Wataru is agreed that her mother is stuck in her ways. It becomes clear that Wataru is simply a father who cannot let go of his daughter. It's a sentiment that anyone, even those without children, can relate to.

Ozu does make a point of showing the increasing differences in attitudes between the generations. The parents are children of war. Wataru and his wife Kiyoko (Kinuyo Tanaka) discuss memories of being in the bomb shelters. Ozu doesn't want us to see the elders as narrow-minded and old-fashioned, but instead as people who grew up with danger and death all around them, and clearly hold protection and security in high regard, and for good reason. However, Ozu does show the women of Equinox Flower as the stronger sex, and the biggest advocates for change. Kiyoko tries to change Wataru's mind, but realises that this is a decision he will make on his own.

The film is full of Ozu's usual traits, including the usual gorgeous cinematography - and this is his first to be shot in colour. His camera is ever-still, watching from low angles, usually through doorways. He is offering his audience a window into these people's lives, and allows them to give their naturalistic courtesies as they would if no-one was watching. It is a delight watching a true master at work, and it's amazing how he finds fresh and fascinating ways to explore similar themes. I've never seen any of his films that haven't been anything less than brilliant, and I'm still to see his widely celebrated Tokyo Story (1953). An absolute delight.

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It's pretty obvious when the film begins that it's one of Yasujirô Ozu's newest films. That's because unlike almost all of his movies, this one is filmed in color. In fact, it's his first color film. Like other Ozu films it features a camera positioned very low--like the cameraman is sitting on the floor. It's odd but works in Ozu's films because of the traditional Japanese tables and futons--all very close to the floor. The plot unfolds very slowly and the film also is a domestic drama--about a daughter who may be marrying and moving out of her home. This is a very common theme--young people moving to adulthood and the sort of conflicts this creates as well as conflicts between traditional and modern values . And, like so many of his later films, it features some of the same old reliable actors. One thing you've gotta say about Ozu--when he found a formula that worked, he REALLY stuck with it. While his films are adored and are often considered masterpieces, there is a strong sense of déjà vu as you watch them!

This is the story of a middle-aged man and his family. Early in on the film, you learn that the father and mother had an arranged marriage--something very common in Japan up until recently. You can tell that Dad was not thrilled by this and he even likes the idea of people picking their own spouses. Yet, when his own daughter wants to marry a man of her choosing, he refuses to give consent. He's adamant--even though he agrees with the concept of allowing your grown children to run their own lives--provided, of course, they are not HIS children! This is MILDLY humorous (it's cute the way the father gets manipulated repeatedly) and a nice critique of post-war Japan--when families, values and norms were all in flux. In other words, this man's conflicts were a mirror of conflicts in Japan as a whole--the old Japan and the new, and much less tradition-bound Japan.

While this is a beautifully made film, you should be aware that like so many of Ozu's films, it has a very leisurely pace. My advice is although he was a wonderful filmmaker, you might first try some more approachable directors films--such as Kurosawa or a Zatoichi film. That's because Western audiences often balk at such slow pacing (particularly here in hyperactive America). If you do watch it, brew a pot of tea or coffee to help you stay focused--it's worth it, as it's a sweet and exceptional film.

This line uttered by Ozu favorite, Chishu Ryu, toward the end of the story helps sum up the mixture of comedy and melancholy that pervades this excellent film. The other reviewers have well described the amusing irony of Wataru Harayama's (Shin Saburi) avuncular support of his friends' daughters' desires to marry for love but his shocked resistance when he finds out about his own daughter's similar desires. But alongside Ozu's depiction of the daughters' plans for their futures is that of the fathers' nostalgia for their pasts.

Harayama, Ryu's character Mikami, and their other friends from middle school days have stayed in touch and regularly compare notes about their carefree days before their own arranged marriages, workday routines, and worries about their daughters. In one scene of a class reunion they wear uniforms, sing songs, and recite elegiac poems. And the one wife we meet, Harayama's (brilliantly played by Kinuyo Tanaka), who has stoically borne her husband's discontent all these years, sees her patience rewarded as she becomes the bridge between him and his daughter.

One other note of reality--Yukiko, the delightfully liberated daughter of a family friend who conspires with Harayama's daughter to play a crucial trick on Harayama, was played by Fujiko Yamamoto who lit up every scene she was in. I wondered why I hadn't heard more about her, and found out from Wikipedia that at the height of her popularity in 1963, when her contract was up for renewal, she asked for some better terms and the head of her studio (Daiei) not only fired her but invoked an agreement with the other studios to prevent her from being hired by any of them. She never made another film. That's another glimpse of old Japan.