Été précoce

"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).

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.

There is a great harmony in everything about this film, which has a Japanese family of three generations wondering if it's time for the 28-year-old daughter (Setsuko Hara) to get married, and proposing an opportune match. Director Yasujiro Ozu uses many of his trademarks, both in content (e.g. two rascally little boys adding a cute element) and in style (e.g. with regular use of those shots from the mat, directly into a character's face as he or she speaks). While some of those things and the overall primness of the film threatened to get on my nerves, I have to say, I enjoyed it, and it finished strong.

In the film, Ozu gives us lessons in being gentle, patient, and bearing with the inevitable changes in life, and he does it in a simple way. Hara seems to be constantly smiling and cheery which may seem a little one-dimensional, but she ultimately stands up for herself in her own, non-confrontational way. The conversation she has with her friend, where the two discuss whether a love based on trust and friendship is true love, is deeply meaningful. The conversation she has with her sister-in-law while they're at the beach, the only one Ozu ever used a crane for, and where they talk about sacrifice and living a life without a lot of money, is as well.

The film gradually builds you to these strong late scenes, so if you're less into it early on, I would encourage patience. The subtle way in which a possible marriage is discussed, and not directly by the two involved (being intentionally vague here), is both cute and an insight into the culture. There are also universal, sentimental themes. The mother and father (Chieko Higashiyama and Ichiro Sugai) turn in strong performances, and the scene where they talk about a son who was missing in action in the war is striking. Their posing for a family picture, all smiles and jovial between takes, but then looking solemn before the picture is taken, is fantastic. The father's silence and patience as events in his family unfold culminates eventually in him recognizing that we all wish we could stay together with family members as they are, but that things inevitably change. It's quite beautiful.

I am writing this minutes after I finished watching this lovely 1951 film on video, "Bakushu" ("Early Summer"). It is my first introduction to the work of Yasujiro Ozu, who directed and co-wrote the film. Ozu (b.1903, d.1963), who directed over 50 films from the 1920s-1960s, is probably most famous for his film "Tokyo Monogatari" ("Tokyo Story") of 1953, which is cited by some film critics as one of the ten best films made.

"Early Summer" is the second of three films in which Setsuko Hara plays an unmarried young woman, aged 28 in "Bakushu", named Noriko (also in Ozu's 1949 "Banshun" or "Late Spring", and in "Tokyo Story"). Her always beaming and confident smile, mischievous but loving laughter, and unselfish and loving manner are a constant joy to experience - she's the kind of person anybody would love to have as a friend. Noriko lives in post-WW II Tokyo as part of an extended family of her parents along her somewhat stern brother (a doctor) and his warm wife and their two spoiled young sons, aged approximately 3 and 6. The family partially depends on her income as an office clerk of sorts.

The central theme is the family's concern that carefree Noriko is unmarried. A proposal comes in from a man twelve years her senior; the family feels this is a great opportunity that they hope she will respond positively to. How she takes all this in stride and works through the gentle pressure of getting married is the plot of the film, but the understated, low-key and low-angle camera shots make what might otherwise be an unexceptional story sweetly captivating and delightful.

I am reminded in this film of my favorite director, Satyajit Ray. Like Ray, at least in "Bakushu", Ozu very effectively uses minimal dialogue, little or no music, and subtlety to draw the viewer into the setting and paint a realistic picture of everyday life.

I felt instant connection with Setsuko Hara as vivacious and indomitable Noriko. Her brother, Koichi (Chishu Ryu) was impeneterably unemotional, probably stereotypically so. Koichi's wife, Aya Tamura (Chikage Awashima) seemed a tamer version of Noriko, almost like an older sister from the same roots. The parents Shukichi Mamiya (Ichiro Sugai) and his wife Shige (Chieko Higashiyama) were realistically portrayed as being content in fulfilling their familial responsibilities, and provided an even emotional keel.

If this is at all typical of Yasujiro Ozu's films, then I am anxious to seek out and start to enjoy his many other creations. The film moves at life's pace, but Ozu transforms what might be a moderately interesting peek into one family's life into a rich and delightful tapestry.

--Dilip Barman Sept. 21, 2003

Not only are no two Ozu movies the same, but each marks a notable

development along the continuum of one of the most formidable artistic visions in film. This mid-career masterpiece is no exception -- its unique qualities lie partly in its assiduous exploration of interior space in an ingenious opening sequence, beautifully capturing the rhythms and choreography of a family

household as they go about their morning routine. It's no wonder that this is the favorite Ozu movie of formalist film scholar than David Bordwell -- Ozu frames and re-frames his compositions, reinventing spaces with each cut and shot,

turning an ordinary house into a cinematic funhouse -- only PLAYTIME, IVAN

THE TERRIBLE and LAST YEAR IN MARIENBAD have offered similar wonders

as far as I'm concerned. Neither is this style for style's sake: as we follow the story of how this family is pressured by social convention to marry off their daughter, the inevitable disintegration of this family makes the synchronicity and synergy of that marvelous opening sequence all the more poignant. In between, there is a rich variety of interactions between three generations of families and friends as they meet their fates, individually and collectively, one exquisite, fleeting moment at a time.