J'ai été diplômé, mais...

It's just a 12 minute fragment, but the portion that was preserved is entertaining and tells a sketch of a story in its own right, so I'm happy I saw this. There is a universality to the hunt for a job after college ("Excuse me, but I'm a college graduate"), and I smiled at him needing to fool his mother by pretending to go work (the "Nomoto at the office" intertitle followed by him playing with kids at the park). As an added treat, we get a movie poster for Harold Lloyd's Speedy from the previous year in the background. Watch it also for Kinuyo Tanaka in her very earliest film - she went on to a prolific career, with over 250 acting credits.

A college graduate is unable to find a job but tries to hide his unemployment from his wife and fiancee. Though only 11 minutes of fragments is all that remains of Ozu's initial entry in the "I Verbed, But..." series, it still plays rather coherently.

Only about eight minutes of Ozu's 70-minute feature seem to exist. It's concerned with Minoru Takada's seemingly endless quest to find a job, while loyal wife Kinuyo Tanaka tries to deal with the threat of loss of money and descent into the underclass. What happens when you do everything right, and nothing works?

It's not a new problem, and as the current COVID-19 pandemic continues into its second year, it's not one that has been solved. Ozu tells his story well, using only visuals: Takada's cigarette, dangling from his lips, but never lit. He can't afford to smoke it. Miss Tanaka at their apartment's balcony, looking at the view they may soon lose: what then? The inevitable movie poster on the wall, from Harold Lloyd's comedy hit SPEEDY: stuck on the bench, not given a chance to play.

I hope the full movie will turn up and I get a chance to see it.

This about a man who has just graduated from university, but cant get a job, is too short to really do much except for conveying Ozu's genuine love for people and everyday life. Not at all an expert on silents, but I bet that not many directors where so down to earth at that time. From the German expressionist films I have seen ('Nibelungen', 'Nosferatu', 'Metropolis' and so on) this is quite a revolution. As the Germans take the drama and the romantic very far, Ozu stays at home with real people. While the Germans are Wagnerian, Ozu is far more subtle.

His device of storytelling lies mostly in the interaction of the characters with little to come in between each scene. Most are shot indoors.

As a 12-minute fragment is all that remains of this early work from Japanese master Yasujiro Ozu. Young man Tetsuo (Minoru Takada) is a recent college graduate looking for a job in Tokyo. His mother (Utako Suzuki) and wife Machiko (Kinuyo Tanaka) come to visit from the country, and he lies to them, saying that he has a job. It's only after his mother leaves that he confides in his wife that no jobs are hiring. Machiko eventually gets a job as a barmaid, embarrassing Tetsuo.

There's not a lot of time for nuance, but enough of Ozu's small, human touches remain to make this enjoyable. The universal appeal of the story line, relevant even today, is a plus. I also liked how American culture is present in several small ways, even in pre-WW2 Japan, such as the characters smoking Camel brand cigarettes, and a Harold Lloyd Speedy poster on the wall in Tetsuo's room. I wish the entire film had survived, but this fragment alone is worth seeing.