Inizio d'estate

There are few lovers of serious cinema who do not consider "Tokyo "Story" a masterpiece. I, for one, would be prepared to place it among the "top ten" of all time. When I first saw it on British TV many years ago I was excited by the discovery of a form of cinema unlike any other. In the months that followed I began to experience frustration that no other of Ozu's fairly large output was available. At long last "Ohayu" turned up. I remember thinking it very inconsequential beside "Tokyo Story" but pleasing nonetheless, possibly Ozu not so much having an off-day as a day off. What I found remarkable however was its stylistic affinity to "Tokyo", the absence of camera movement, the prefacing of each dramatic sequence, generally taking place in a domestic interior shot from near-ground level, with two or three shots, often still-life exteriors with background music carried over into the next dialogue scene; in other words a director who is completely true to his own way of seeing things, as instantly recognisable from a single shot as are composers as diverse as Martinu, Rawsthorne and Roy Harris from one bar of their music. It is only recently that I have managed to catch up with five other Ozu films, each a gem in its own way but small in scale. "Early Summer" is a typical example. It deals with the same situation as "Late Spring", that of the pressures on a young woman by her family to get married. Ozu generally explores family relationships which, although hardly dysfunctional, abound in tensions. Here we have an elderly couple living with their doctor son and their unmarried daughter, the son's wife and their two small sons completing the household. An elderly uncle visits early on and neighbours and friends, particularly those of the unmarried daughter make up the rest of the cast played by a company of stock actors that appear in many of Ozu's films. Each generation responds to life in its own way. The elderly couple are disappointed particularly with the younger members of the family. They sit on park benches or in the privacy of their bedroom and sigh that, in spite of everything, things could be much worse and they should be happy with their lot. The middle generation get on with the business of living, often in a blinkered way so that we wonder whether they are aware of the tensions they so often generate. The children are completely selfish little monsters who cut up rough if they don't get their own way, as when they mistake a wrapped loaf of bread that their father brings home, for the model railway accessories they are hoping to receive. There is little in the way of plot other than that of the "Will she? Won't she?" variety. But for the enormous expectations raised by "Tokyo Story", I might well have passed "Early Summer" by. And yet there is a uniqueness and purity of style that somehow draws me back to these simple vignettes of Japanese domestic life again and again. Ozu has often been compared to Jane Austen, but would not a more appropriate analogy be the novels of Ivy Compton-Burnett. Both are the unique minimalists of their respective arts.

I had seen Tokyo Story and respected it. But Early Summer is a charming, poignant and very human movie that stands the test of time. It is the story of Noriko, a 28-year-old administrative assistant who is under pressure from her family to marry. To put this in perspective, in traditional Japan, a woman married by age 25, or she was considered a "Christmas cake "-- nobody wanted it after the 25th! It is not as common in Japan now for women to face such pressure, especially since so many Japanese women are choosing to stay single, now that they have the money to be independent. However, Noriko's case would have been common up until the current generation of women.

While the war is not a character in the movie, there are threads that connect Early Summer to World War II. The movie takes place in 1951, just before Japan emerged from the U.S. occupation, and before Japanese society had its great explosion of wealth in the 1960s. It is a snapshot of a time that no longer exists, although the family conflicts are universal. I plan to add Early Summer to my list of top movies and look forward to viewing it again.

I did not know much about Yasujiro Ozu's films prior to seeing Early Summer. I knew he was as big an influence in the West as Akira Kurosawa. It is not difficult to understand Kurosawa's influence since his films were largely influenced by John Ford and his stories were occasionally based on Shakespeare. Ozu, seems to take a quiet and simple approach to the cinematic experience.

"Early Summer" is about a time when families extend and break apart. We are introduced to the Mamiya family, a typical family of 1950's post war Japan, who we see going about their daily life routines. The protagonist is the daughter Noriko, a 28 year old girl whose parents believe is ready to get married. One day, Noriko is recommended a man Takako, who is an associate of her boss. Noriko considers the offer but does not spark much interest. Her parents try to encourage her daughter to marry this man but after learning that Takako is much older, Noriko becomes even more reluctant. One day, their close neighbor Kenkichi, has been offered a job outside of Tokyo and has decided to leave. It is Kenkichi who Noriko suddenly decides to marry. The Mamiya family becomes upset because Kenkichi is not only moving away from home but he is also a widower with a child. The parents soon realize that they will have to accept and nothing will be the same again. The story has a somewhat similar structure to a documentary in that we sometimes feel as though we are witnessing real life as it happens. Much of what occurs throughout the film is not directly connected to the story. There is no surprise or ironic conclusion. Everything seems inevitable and there is no major surprises or conclusions. "Early Summer" helps us think about the essence of selfishness in the Japanese nuclear family. It is uncommon for Japanese families to leave the family because independence is looked down upon. At the same time, it is inevitable that things change for better or for worse. There is a wonderful scene with the grandparents contemplating on Noriko and their lives. "Things couldn't be better" says the grandfather. "Well they could" says the grandmother. The grandfather replies,"please, we must not expect too much from life" This seems to be an important awareness of the film and one that exists between the Mamiya family. Noriko accepts who she's in love with not because she seeked him out but because it occurred when she least expected. She tries to read into her future and accepts that marriage will be difficult. There is another wonderful moment after she has accepted Kenkichi's mother to marry her son, she is seen walking home and passes by her soon to be husband. Their exchange is very subtle and brief and yet we know they are going to spend the rest of their lives together. This scene is presented in an ironic way that helps us to pay close attention to the mundaneness of our lives. These are the moments that help us see the world in better light. Ozu has a great eye for timing, atmosphere and above all, humor. There is nothing pretentious about this film. It is an examination of family unity and the passing transition of marriage.

Ozu's "Early Summer" is a delightful movie to watch, pleasant and light in its story, yet thoughtful and sensitive in a good many respects. It is also a triumph for Ozu's simple-looking but carefully conceived style of film-making, and the material in the story parallels the style in a natural but satisfying manner.

So many of Ozu's movies portray the distinctive characteristics of the Japan of his day, and yet do so in a way that make the characters and their situations seem almost universal. By focusing so much of the running time on repeated daily routines, even the habits and customs unique to its own society become points of identification, since routines are routines, regardless of how they might differ from one time and place to another.

Here, the family relationships among the central characters are fleshed out carefully, so as to create many possibilities in the interactions between the various generations. There is significant screen time given to many different characters, and all of them are worth getting to know. Noriko (Setsuko Hara) is the main character, in that she ties together her family with the characters outside of it, and as the movie proceeds, it is her life that gradually becomes the main focus. Ozu's presentation of the preoccupation that the other characters have with Noriko's unmarried status is both believable and perceptive. Hara is very endearing in the role, and she does very well in portraying her relationships with and her reactions to the other characters.

Given that Ozu deliberately makes very sparing use of camera movement and similar techniques, in favor of simple but carefully composed settings that emphasize the characters themselves, there is a nice parallel in the way that the story proceeds and the main questions are resolved. The characters' heartfelt decisions are shown to be more worthwhile than meticulous arrangements. As tends to happen with his films, a pleasing pattern with a ring of truth to it emerges, almost unexpectedly. It's enjoyable to watch, and an admirable display of cinematic skill.

"Early summer" maybe the most unknown of the "Noriko trilogy" ("Late spring" (1949), "Early summer" (1951) and "Tokyo story" (1953)), it is however certainly worthwile.

The films of Ozu are all about family relations. In the Noriko trilogy they are all about Noriko, a single (never married or widow) woman in her late twenties played by Setsuko Hara (in "Tokyo story" however the parents in law of Noriko also play at least an equally important part).

An important question in the Noriko trilogy is if and with whom Noriko ought to marry. The pre war idea that the upbringing of a girl ends with her marriage when the responsibility transfers from the parents to the husband clashes with the post war idea of the individual freedom of the young woman.

We see this clash not only in the story line but also in the set pieces (very important in an Ozu movie because he works with a static camera). We see the old father meditating in a traditional Japanese house. In another scene we see Noriko dining with some of her friends (some married and others still single) in a very modern restaurant (that almost looks '70s style to me).