Early Summer

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Yasujiro Ozu's Early Summer (1951) is yet another observation of family and marriage in post-war Japan for the director. A surprisingly large cast of characters is introduced in the first third of the film before the major conflict is even ignited. Not the only characters are rich, but the writing in general is deeply (but subtly) touching in the unique way Ozu always managed to embed into his films.

From Ozu one can always expect formal brilliance and Early Summer is not an exception. Scenes are shot from a fixed low positions in the traditional Ozu way, but there are surprisingly many moving shots this time. Some of them work well, but there are a few that feel more like formal deficiencies. Luckily they are few and the other parts of the film easily overshadow the moments the form stumbles. It's also miraculous how Ozu's musical scores are always so timeless whereas other Japanese films from the same period of time offer soundtracks that in hindsight seem so "obviously 50's" (not to say they are bad, but when you give enough thought for it, that's how it seems).

Ozu's deeply moving and life-affirming films are one of the biggest reasons why I'm so fascinated by cinema. The repressed emotions and subtlety of his writing and his utterly unique aesthetic provide unforgettable cinematic experiences that make me speechless. I hope I can one day express that delight in words because right now I'm not exactly satisfied with what I've written. Nevertheless I urge everyone to go and see the director's films because they are a lot more rewarding than what modern cinema can offer.

Score: 10 out of 10

Flowing

Even though Mikio Naruse's Flowing (1956) tells about the geisha tradition in post-war Japan the audience is never shown scenes of the actual entertainment apart from brief glimpses of young geisha practicing. The film's focus is on the large cast of characters, all the different sort of people who live in the financially unstable geisha house.

Naruse's films usually develop at a relatively fast pace, but even under his standards Flowing's narrative is like a whirlwind. As multiple storylines develop simultaneously and intertwine, Naruse builds a fascinating world which easily gathers the audience's attention throughout the film. Each character is more or less colorful (and unforgettable) and the acting is top-notch. It is funny (yet amazing) how the film features so many of the greatest Japanese actresses of the 50's (only lacking Setsuko Hara).

The films Naruse made in the 50's follow the same sort of formal pattern so it is really hard to say anything new about it, having seen so many of his films in a row. It would be possible to approach each film more individually if I were to write an analytical text of the films, but within the restrictions of the review format it is quite impossible to say anything drastically different about each film. Flowing is formally excellent due to its great compositions (which differ in significant ways depending on whether the scene is set in an interior or exterior location) and crafty editing.

On the first view Flowing is great, but I'm not sure whether it is on the level of Naruse's greatest masterpiece (When a Woman Ascends the Stairs) yet. I guess I will have to watch it again at some point for final evaluation.

Score: 9 out of 10

Only Yesterday

Isao Takahata is the lesser known director of the two masters at Studio Ghibli - the other being Hayao Miyazaki. His anti-war film, Grave of the Fireflies (1988), is considered his masterpiece, but I beg to differ. Only Yesterday (1991) - a film depicting Japan in the 60's and the 80's - is the one I consider his true masterpiece. Although Grave of the Fireflies and Only Yesterday are approximately on the same level when it comes to quality, I prefer the latter's complexity because it is drawn from simple yet subtle moments which linger in my mind long after the ending.

Essentially the film is about a 27-year-old office worker who takes a vacation to work in the fields - while reflecting upon the time when she came of age. The dense narrative manages to create tangible portrayals of Japan during the 60's and the 80's. The film goes to tiny details in order to show how things have changed and how each period has an effect on the characters.  But most of all this film is about nostalgia - and it is a superb take on the phenomenon.

The form is even more superb. The art direction is wonderfully striking and distinctive - especially the way nostalgia is portrayed is magnificent. The compositions are beautiful and colors are used in a fascinating way. The use of music varies from subtle (background music) to intrusive (song sequences) - both of which work very well. The character design is quite flawless throughout the film.

Ultimately, Only Yesterday might be my favourite Studio Ghibli film because for me it's the most poignant one - and that should say quite a lot.

Score: 10 out of 10