It may have the skimpiest of plots--two young brothers take a vow of silence until their parents buy them a television--but Yasujiro Ozu's 1959 picture is anything but slight, taking on the subject of language (ironic, considering the story) with attentiveness and intelligence. In his deliberate, contemplative manner, Ozu presents a wry commentary on the ways even the most innocuous words can harm (gossip) or become the building blocks of a relationship (a budding romance is confirmed by a conversation about the weather); he also notes Japan's growing fascination with the English language (the older boy studies it) and the increasing obsession, now with fourteen years of distance from the war, with American technology--the suburban landscape is peppered with aerial antennas as television begins to permeate the culture. It's subtly beautiful: each shot is perfectly framed (the camera never moves) with an excellent use of depth that highlights exactly what the director wants you to see and giving you plenty of space to focus; it's easy to see how a master of today's Asian cinema such as Wong Kar-Wai would be profoundly influenced by Ozu's languid yet carefully observed filmmaking. A delight; it's also a fine introduction for younger viewers to the magnificence of international cinema.

This film is typical of the films of the Japanese director, Ozu, because it has to do with the conflict between traditions and modern life in this country. It also features his old fashioned use of the camera--with the typical placement of the camera just below the actors as well as it remaining stationary during the shots. However, unlike most of his films, this is more of a lite comedy and makes fun of social conventions and neighbors.

The film begins with two simultaneous themes. First, a group of neighbor women are in a women's club and the dues they gave their leader seem to have vanished. While the lady is sure she turned the money in, the other women begin wondering what might have happened with the funds. Second, two boys are very upset because their parents won't buy them a television. And, when the parents are sick of hearing the kids ask, they tell the boys to be quiet. Then, in a form of social protest, the boys refuse to talk any more to anyone--even at school. The only time they talk at all is when they are alone together.

Later, it turns out that the club leader's mother had misplaced the money and everything was okay. BUT, because the boys stopped talking to everyone, the leader of the club thinks their not acknowledging or talking with her is because the family is still mad about the money. So, the rest of the film consists of come misunderstandings that all come about due to the spunky kids.

Overall, this is not a laugh out loud sort of film, but a droll little film that gives insight into life in late 1950s Japan. It's slow and gentle--just like all of Ozu's films but with a sense of satire that makes some points about the hazards of post-war life. Well directed and acted from start to finish.

By the way, note the comment the one lady makes to her mother about Mt. Norayama--it's amazingly brutal and harsh, but also makes a point about alienation and the disintegration of respect of the elderly.

Even when Yasujiro Ozu was not at his best, his films were always well worth watching. And when he was at his best, his films were must sees. The more seen of his work, the more interesting and easier to appreciate he became. Started holding him in very high regard after watching 'An Autumn Autumn', and the high opinion got even stronger with 'Tokyo Story'. Watching more of his work, his appeal is more than understandable and it is easy to see why he is as big an influence as he is.

Very loosely remade from 1932's 'I Was Born, But' and the second film of his to be made in colour, 'Good Morning' is another great film. After watching the intensity and dark bleakness of 'Tokyo Twilight', one of his best in my view, seeing Ozu returning to his roots and primary strengths to more gentle territory was great. 'Good Morning' is not quite one of his very best, but in terms of accessibility it is one of his most accessible and actually a good place to start when getting into him.

Just be prepared for the story being very slight, it is one of the slightest stories of his films and narratively Ozu's films were not exactly complex. It does occasionally affect the pacing towards the beginning, so some patience if not already familiar with his style is in order.

So much is outstanding though. Have always loved the unobtrusive and simple visual style of Ozu's work, purposefully static it can be considered as but never in a cheap way. Ozu's films are very intimate in atmosphere, the technically simple and never intrusive look of his films was always more than appropriate and the use of colour here is richly done. Ozu's direction has force but also refinement and sensitivity. It is also easy to appreciate the playfulness and nostalgia heard in the music score.

'Good Morning' is on point in the writing department. Very thoughtful and very funny in a gentle and sometimes disarming way (one of the reasons as to why 'Good Morning' is one of Ozu's more accessible films). The story once it gets going is compelling, charming and moving and characterisation-wise few directors understood the human condition and translated it on screen in as relatable and human a way better than Ozu. These are complex characters, beautifully developed and with true to life strengths and flaws. The acting is great with no weak links.

In conclusion, have very little to criticise this fabulous and in a way underseen film. 9/10