Banshun

Yasujiro Ozu has been hailed as one of the great masters of cinema for years. I have to agree with those film scholars and critics because Late Spring is a prime example of good cinema. Everything in this film flows like a gentle river. I was fascinated and completely thrilled by every second of this great work of art. Setsuko Hara and Chishu Ryu are just wonderful. You just have to forget about classical Hollywood montage and editing, you will not find any of those rules here. The master create all new ones and I guarantee that if you try one, you will want to see more of his films. This was the third work by Ozu that I had the chance to watch and I can't hardly wait to see another one.

Sincerely, I urge anybody that love cinema to see this one, quite simply one of the greatest films I have seen. 10/10

I've watched this film many times and love it very much. Ozu made Hara perfectly beautiful in this film. Noriko devoted her father and didn't want to marry because of him. He would be lonely if she married. Father and daughter lived happily together, but when she saw an elegant widow at Noh theather, she had jealousy. Hara Setsuko's acting was perfect as Noriko who was in love with her own father. No other actress could act like that. She was only Noriko. So director Ozu didn't change her role name Noriko for Setsuko Hara. Noriko in Banshun(Late Spring), Noriko in Bakushu(Early Summer),Noriko in Tokyo Monogatari(Tokyo Story) and I am Noriko as Setuko Hara's No.1 fan in Japan.

The revelation of Noriko's wedding dress is perhaps the most powerfully painful moment of cinema I've ever experienced. The contrast between her freedom before her wedding, the moving camera (very foreign to Ozu) her range of emotion, her geographical and social freedom, and the deeply disturbing oppression that her wedding signals is very affecting. It is gutting. And so devastating that she accepts her oppression. Powerful, if needing commitment and patience. Especially the six minutes of the impenetrable Noh play.

Robin Woods in his fascinating new book of criticism "Sexual Politics and Narrative Film" writes eloquently about this film as a defining example of Ozu's films progressive nature. I would agree and add wholeheartedly that even after reading Wood's non-traditional take on Ozu I was still blown away by the film's rich identification with the character of Noriko (played by the legendary Setsuko Hara). The story is simple: Noriko a single Japanese woman is living a seemingly happy life caring for her widowed aging father. Social pressures, however, force family and friends to believe that Noriko can only be fulfilled by entering into marriage, although Noriko seems to have no interest in marriage herself. With this simple narrative Ozu is able to create a relationship between his characters that is so rich and complete we feel we know them. As always this is done with the smallest of carefully studied behavior and the precision of mise-en-scene over fancy editing and dazzling camera movements. A wonderful, heartbreakingly real movie from one of Japan's greatest directors.

This is my favorite Ozu film. I like to think that it is an homage to Italian Neorealism. But I'm mostly writing in defense against those who don't like Setsuko Hara's acting. First of all, whenever we western audience viewers critique someone's acting, the main argument is that it's not realistic.

Well, I would like to say that Hara did a very realistic portrayal of her character. The women of 1949 Japan had her mannerisms that we will probably find "annoying".

This is a difficult film for those who are not used to "Eastern" style of films. Especially ones from the 1940s. As long as we watch with an open mind, the theme of the film is as universal as it can get. Who knows? In 50 years, someone will make fun of Naomi Watts' acting in "21 Grams" deeming it unrealistic.