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I like Yasujiro Ozu's work, but, even after seeing some of those works that are generally considered best, I was still skeptical of his minimalist style. But then I saw the New Yorker VHS of the silent I Was Born, But...

Let me just say that it is absolutely amazing. It's a nearly perfect film, with great direction, great writing, great jokes, and great acting. This is easily one of the best film about children ever made. The story revolves around two young boys whose dad has just moved to the suburbs near his boss. The kids have some trouble fitting in, and a gang of bullies accost them at first. But soon they conquer the leader of the gang and supplant him.

Later in the film, the kids are challenged with their perception of their father. They think he's everything, of course, but they soon find out that he is only a salaryman. They watch his boss' movies, which include shots of the father fooling around for the entertainment of his employer. The children are flabberghasted, and rebel against their father. I have said it is a great film about childhood; it is also a great film about parenting, as the father and mother have to deal with their sons' disappointment.

Please, please watch this film, especially if you have been disappointed with other works such as Tokyo Story. In my opinion, I Was Born, But... is a much better film. 10/10.

An early family drama by Ozu that starts as a coming of age-`Japanese 400 blows'- and develops into a deep essay about identity, acceptation, self-respect, honor and exemplary. Ozu has a unique style for filming rituals, and these rituals are the dynamos of Tradition. In portraying a fractured relationship between a father and his sons, Ozu reflects on the transition between an old dying order and the arrival of a new one (both kids dream of being officials in the army, some ten years before Hiroshima). This works also as a metaphor of Japan on its way to technocracy, westernization and materialism, with its small bourgeois suburbia, the ever-passing trains and even home movies and child games where kids cross themselves in the Christian fashion. There's an unforgettable traveling shot with a choreography of yawns, some recognizable `Tatami' angles, and other technical achievements that prove that Ozu mastered his craft very early on (in fact, though silent, the film looks years ahead that many contemporary Hollywood productions). A rare film and indeed a very accessible one to the complexities of the cinema of Ozu.

I am so glad that I ran into this movie. It left such an impression on me. The way it ended was so suprising. The boy's father was such a nice guy, and how that boy could be ashamed of him like that was really something else. It just left me in tears in the end of the movie. It makes me realize what our parents had to do to make a good living, even if it takes having to sell out your pride. His father did it because he loved his family. There is a lesson to be learned in this, and I would recommend this film in a heartbeat!

To say that I Was Born, But…is funny and charming is like saying The Godfather is a crime drama. It is that but much more. Featuring outstanding child performances, this silent film by the great Yasijiro Ozu is both a satire on the rigid structure of Japanese society and a coming-of-age story about children learning to live in a less than perfect world. It is an enduring masterpiece that has maintained its universal appeal over the years.

In the film, eight-year old Keichi (Tomio Aoki) and his ten-year old brother Ryoichi (Hideo Sugawara) come to live in a small town in the suburbs of Tokyo after their father, Mr. Yoshii (Tatsuo Saito), an office clerk, receives a promotion. The transition to the suburbs, however, is not smooth. Neighborhood bullies taunt the boys, but they soon gain the upper hand with the help of a delivery boy (Shoichi Kojufita) who sends the main bully home crying. One of the neighborhood boys is Taro (Kato), the son of their father's employer Mr. Iwasaki (Takeshi Sakamoto) who seems to always be dressed in a black suit, befitting his station in life. The boys' behavior mirrors the adults with their games and power strategies including the very funny "resurrection" ritual.

The two boys' are in awe of their father and consider him great; however, their loyalty is tested when they see him clowning and acting like a buffoon in front of his employer while watching home movies at Iwasaki's home. Mr. Yoshii explains later that as Iwasaki owns the company where he works, he has to treat him with respect. In disgust the boys ask if they will have to bow to their friend Taro, the boss's son, when he grows up. Resentful after a spanking and dissatisfied with the answers they have received to their questions, they go on a hunger strike but it is short lived. After the father talks with them about the meaning of being an employee, everyone learns something about the realities of life.

Ozu seems to endorse acceptance of the status quo but, on reflection, it seems he is merely making observations rather than judgments. He is critical of the father for kowtowing to his employer, yet also sympathetic with the realities the family must face. The children have lost their innocence and must accept the fact that life isn't fair, but they also see that happiness can be achieved by rising above their prescribed status. Sadly, many of the boys shown in the movie had to fight and die in a bloody war only ten years later, in part a consequence of the rigid social structure Ozu satirized in the film.

I saw this film at a special screening at the Museum Of Modern Art in New York City with live piano accompaniment. I'm not sure we needed the piano, this is a really great comedy about two young brothers trying to fit in in a new place. They are faced with two things: Bullies and that they feel their father is a nobody since he works for one of the other neighborhood boy's father. The two brothers are great. The audience, which was a refreshingly large one, laughed freely through the film, as I did.This is my first Ozu film, and I thoroughly enjoyed it. It depicts a child's world, what matters to them. It is a great silent film, the pace is good, it never drags. Not to be missed.