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Sanma no aji

  • 1962
  • Not Rated
  • 1 घं 53 मि
IMDb रेटिंग
8.0/10
11 हज़ार
आपकी रेटिंग
Sanma no aji (1962)
Drama

अपनी भाषा में प्लॉट जोड़ेंAn aging widower arranges a marriage for his only daughter.An aging widower arranges a marriage for his only daughter.An aging widower arranges a marriage for his only daughter.

  • निर्देशक
    • Yasujirô Ozu
  • लेखक
    • Kôgo Noda
    • Yasujirô Ozu
  • स्टार
    • Chishû Ryû
    • Shima Iwashita
    • Keiji Sada
  • IMDbPro पर प्रोडक्शन की जानकारी देखें
  • IMDb रेटिंग
    8.0/10
    11 हज़ार
    आपकी रेटिंग
    • निर्देशक
      • Yasujirô Ozu
    • लेखक
      • Kôgo Noda
      • Yasujirô Ozu
    • स्टार
      • Chishû Ryû
      • Shima Iwashita
      • Keiji Sada
    • 48यूज़र समीक्षाएं
    • 64आलोचक समीक्षाएं
    • 91मेटास्कोर
  • IMDbPro पर प्रोडक्शन की जानकारी देखें
  • IMDbPro पर प्रोडक्शन की जानकारी देखें
    • पुरस्कार
      • 4 जीत और कुल 1 नामांकन

    फ़ोटो79

    पोस्टर देखें
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    पोस्टर देखें

    टॉप कलाकार26

    बदलाव करें
    Chishû Ryû
    Chishû Ryû
    • Shuhei Hirayama
    Shima Iwashita
    Shima Iwashita
    • Michiko Hirayama
    Keiji Sada
    Keiji Sada
    • Koichi Hirayama
    Mariko Okada
    Mariko Okada
    • Akiko Hirayama
    Teruo Yoshida
    Teruo Yoshida
    • Yutaka Miura
    Noriko Maki
    Noriko Maki
    • Fusako Taguchi
    Shin'ichirô Mikami
    Shin'ichirô Mikami
    • Kazuo Hirayama
    Nobuo Nakamura
    Nobuo Nakamura
    • Shuzo Kawai
    Eijirô Tôno
    Eijirô Tôno
    • Sakuma - The 'Gourd'
    Kuniko Miyake
    Kuniko Miyake
    • Nobuko
    Kyôko Kishida
    Kyôko Kishida
    • 'Kaoru' no Madame
    Michiyo Tamaki
    • Tamako, gosai
    Ryûji Kita
    Ryûji Kita
    • Shin Horie
    Toyo Takahashi
    Toyo Takahashi
    • 'Wakamatsu' no Okami
    Shinobu Asaji
    • Youko Sasaki, hisho
    Masao Oda
    Masao Oda
    • Dousousei Watanabe
    Fujio Suga
    Fujio Suga
    • Suikyaku A
    Zen'ichi Inagawa
      • निर्देशक
        • Yasujirô Ozu
      • लेखक
        • Kôgo Noda
        • Yasujirô Ozu
      • सभी कास्ट और क्रू
      • IMDbPro में प्रोडक्शन, बॉक्स ऑफिस और बहुत कुछ

      उपयोगकर्ता समीक्षाएं48

      8.011.4K
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      फ़ीचर्ड समीक्षाएं

      9planktonrules

      An updated version of BANSHUN

      My favorite Yasujiro Ozu film is BANSHUN. And so, as I sat watching SANMA NO AJI, I quickly realized that this film is essentially a retooling of BANSHUN. Both films are about a devoted daughter living quite happily with her widower father. The father, however, realizes that the daughter is giving up a lot, so it's his goal to get her out and married for her own good. There are some differences, though, in the films. In SANMA NO AJI, it's not just the father but also the young lady's employer who sees a need for her to marry. In addition to taking care of her father, there also is a younger brother in the home. Still, it is essentially the same story with a few twists--and in color.

      It's also highly reminiscent of many of the mid to late Ozu films in a variety of ways. Like his usual style, the camera is stationary and often is at floor level--with cuts instead of closeups. You may not notice this at first, but it's clearly the director's trademark. In addition, the film has the typical slow and gentle pace and is about the conflicts between modern Japanese life and tradition. In this sense, there's not a lot that's too new about the film other than a light and modern (for 1962) soundtrack--very bouncy yet gentle.

      As for the film, the father (Shuhei) has a pretty nice life. He has a nice job, often goes out with friends to drink and Michiko (the daughter) takes care of his needs at home. However, as the film progresses he notices in other people's relationships that something is missing. In particular, meeting with an old school teacher from 40 years ago is a wake-up, as this old man also lives with his unmarried daughter--and his life is a bit pathetic. Shuhei is afraid that in later years, his and his daughter will have a similar relationship. So, he and his married son go about trying to arrange a marriage for Michiko--who does want to marry, though judging by her outward appearance and insistence that she wants to stay home and take care of her father, you's never know it.

      Overall, it's an incredibly slow but satisfying film and a nice end to Ozu's career, as it is his last film. Well worth seeing and full of lovely and realistic vignettes. For those who are looking for action and excitement, you may not like this film. For those who can appreciate a slower and more deliberately paced film, this is hard to beat. A lovely portrait of life in Japan circa 1962.

      By the way, is it me or did those people in the film really drink a lot?! Wow!
      8claudio_carvalho

      Revisiting "Banshun" in the Swan Song of the Great Master

      In the early 60's in Tokyo, the widower Hirayama (Chishû Ryû) is a former captain from the Japanese navy that works as a manager of a factory and lives with his twenty-four year-old daughter Michiko (Shima Iwashita) and his son Kazuo (Shin'ichirô Mikami) in his house. His older son Koichi (Keiji Sada) is married with Akiko (Mariko Okada) that are compulsive consumers and Akiko financially controls their expenses.

      Hirayama frequently meets his old friends Kawai (Nobuo Nakamura) and Professor Horie (Ryûji Kita), who is married with a younger wife, to drink in a bar. When their school teacher Sakuma (Eijiro Tono) comes to a reunion of Hirayama with old school mates, they learn that the old man lives with his daughter that stayed single to take care of him. Michiko lives a happy life with her father and her brother, but Hirayama feels that it is time to let her go and tries to arrange a marriage for her.

      "Sanma no aji" is the last movie of the Japanese director Yasujiro Ozu about his favorite theme: family and human relationship. Actually he revisits in color thirteen years later, the theme of the wonderful "Banshun". Both story lines are about an old father that realizes that he can not hold his daughter with him anymore and she needs to get married with an arranged marriage as a natural order of life in the traditional Japan. The beautiful and touching story shows also the contrast between the traditional and the newer generation formed by consumers and is supported by awesome performances and the use of magnificent camera work, with symmetrically framed images. Last but not the least, it is impressive how the characters drink in this movie. My vote is eight.

      Title (Brazil):"A Rotina Tem Seu Encanto" ("The Routine Has its Charm")
      8madcardinal

      Let This Movie Gently Win You Over

      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.
      10boblipton

      Dayenu

      As in Ozu's LATE SPRING, widower Chishu Ryu decides it is time for his youngest child, daughter Shima Iwashita, to marry. It comes on him suddenly in the midst of his comfortable routines -- the well paid executive position, the drinking bouts with his old friends, the nightcap at the inevitable bar around the corner -- that time is passing. She is 24. At first she resists. What will he and her younger brother do without her? He replies that they will manage.

      Unlike the earlier movie, this one isn't about the daughter, but the father. Before the war Ozu had worked in many genres, with his largest influence seeming to be Leo McCarey. After the war he settled into a series of meditations of the Japanese family in a changing Japan, concentrating on first one member, then the other. As he grew older, so did the focus of the story.

      Some people say Ozu's technique, which had favored ecstatic moving shots in the late 1920s, grew simpler. He set his camera on the floor, looking up at his subjects, and let the drama and comedy play out before it. I don't think so. I think that his interest in story grew less and his interest in character increased, and he found the tricks of camera movement, crane shots and structuring the background for composition, to be a distraction. And so, here, we come to know Chishu Ryu's character, even though he says little, orders nothing, yet clearly commands love and respect from all who know him.

      Ozu's mother died, and he was trying to deal with cancer while he worked on his next movie when he died on his sixtieth birthday, December 12, 1963. For lovers of his films, there would be no WINTER. Instead, we may imagine the bar around the corner, the same family -- with Chishu Ryu perhaps now a great-grandfather - still caring about each other and coping in a constantly changing Japan.
      Flak_Magnet

      Ozu's most visually beautiful film - a masterpiece

      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.

      इस तरह के और

      Akibiyori
      7.9
      Akibiyori
      Banshun
      8.2
      Banshun
      Bakushû
      8.0
      Bakushû
      Higanbana
      7.8
      Higanbana
      Tôkyô boshoku
      8.0
      Tôkyô boshoku
      Kohayagawa-ke no aki
      7.7
      Kohayagawa-ke no aki
      Ukigusa
      7.9
      Ukigusa
      Sôshun
      7.7
      Sôshun
      Ochazuke no aji
      7.6
      Ochazuke no aji
      Hitori musuko
      7.7
      Hitori musuko
      Tokyo Story
      8.1
      Tokyo Story
      Otona no miru ehon - Umarete wa mita keredo
      7.8
      Otona no miru ehon - Umarete wa mita keredo

      कहानी

      बदलाव करें

      क्या आपको पता है

      बदलाव करें
      • ट्रिविया
        Yasujirô Ozu: [static camera] There is not a single camera movement in the entire film, as in many of Ozu's films.
      • भाव

        [English subtitled version]

        Yoshitaro Sakamoto: If Japan had won the war, how would things be?

        Shuhei Hirayama: I wonder.

        Yoshitaro Sakamoto: More whiskey! Bring us the whole bottle. If we'd won, we'd both be in New York now. New York. And not just a pachinko parlor called New York. The real thing!

        Shuhei Hirayama: Think so?

        Yoshitaro Sakamoto: Absolutely. Because we lost, our kids dance around and shake their rumps to American records. But if we had won, the blue-eyed ones would have chignon hairdos and chew gum while plunking tunes on the shamisen.

        Shuhei Hirayama: But I think it's good we lost.

        Yoshitaro Sakamoto: You think? Yeah, maybe you're right. The dumb militarists can't bully us anymore.

      • क्रेज़ी क्रेडिट
        The film title and credits are set against a backdrop of painted fronds.

        Generally Yasujirô Ozu films have the credits placed before a backdrop of plain sackcloth.
      • कनेक्शन
        Featured in Yasujirô Ozu, le cinéaste du bonheur (2023)
      • साउंडट्रैक
        Gunkan kôshinkyoku
        (Warship March)

        Written by Tôkichi Setoguchi

      टॉप पसंद

      रेटिंग देने के लिए साइन-इन करें और वैयक्तिकृत सुझावों के लिए वॉचलिस्ट करें
      साइन इन करें

      अक्सर पूछे जाने वाला सवाल

      • How long is An Autumn Afternoon?
        Alexa द्वारा संचालित

      विवरण

      बदलाव करें
      • रिलीज़ की तारीख़
        • 18 नवंबर 1962 (जापान)
      • कंट्री ऑफ़ ओरिजिन
        • जापान
      • भाषा
        • जापानी
      • इस रूप में भी जाना जाता है
        • An Autumn Afternoon
      • फ़िल्माने की जगहें
        • टोक्यो, जापान(setting of the action)
      • उत्पादन कंपनी
        • Shochiku
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      बॉक्स ऑफ़िस

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      Sanma no aji (1962)
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      What is the Brazilian Portuguese language plot outline for Sanma no aji (1962)?
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