This is the first film by Ozo that I have seen and it's a revelation. I have the feeling that I entered a new world which I am eager to explore further.

The film is made in 1949, four years after the defeat of Japan, but there are no ruins in sight, on the contrary, landscapes are proper and well maintained, homes are clean and nothing seems to be missing, people live their lives in a way that seems to go on for centuries. The American presence is just hinted by a Coca-Cola sign, or English inscriptions at train stations. Maybe a political statement by Ozu about the perennial continuity of the Japanese civilization despite the destruction Japan had just gone through.

The war is also hardly remembered and hidden back in the past. We learn that the principal hero Noriko (wonderfully acted by Ozu's preferred actress of the period Setsuko Hara) was interned in a labor camp during the war, but nothing in her demeanor and certainly not her radiant smile lets anybody feel about her suffering. She loves being at home and taking care of her father (Chishu Ryu, another favorite actor of Ozu) with a devotion that is troubled only by the insistence of the family to get her married, as social customs demand for a young woman of her age. Eventually she will be curved into accepting a marriage arrangement under pressure by her caring aunt and by her father, who would make anything to have her happy, but only according to the customs and their own conceptions.

It's wonderful to watch how this delicate family drama is being filmed, with a taste and aesthetic balance that makes of each scene a masterpiece worth being seen for its own. Ozu is also a master of using soundtrack, and his matching of visuals and sound sometimes equally effective in creating emotion reminds the use that Hitchcock makes of music in his films.

There is a lot of symbolism in this movie, and I certainly have lost some of the more subtle messages because of my lack of familiarity with Japanese customs and culture. And yet this film is at the same time simple, as well as modern and universal in look, we can resonate with the characters and I had less difficulty in understanding their emotions than in many other Japanese or Far East movies seen through the perspective of my 'western' eyes. At the same time the film has a wonderful human dimension, we can see on screen a story of love and affection between two people who need and are willing to make a huge sacrifice in order for the other one to be happy. This combination of emotions, simplicity and art cinema makes of this movie a real treat.

This is one of the most beautiful and perfect Japanese films I have ever seen. While I have seen and reviewed several other of director Ozu's films, this one stands head and shoulders above the rest. Most of this is NOT because of the plot, as the plot itself is very, very simple. Instead, the masterful way in which the film is constructed is highly reminiscent of a Japanese painting--one that is neither hurried nor unreal in any way. The story is a touching and lovely look at the relationship between a 56 year-old father and his unmarried daughter and it takes a very slow and gorgeous journey. Many of the best scenes are the quiet moments at home between the two leads or their friends--as the relationships seem so real and natural. In most films, super-human and extraordinary people are featured, whereas in this one, the basic humanity and beauty of average decent people is the focus. And while this description may sound awfully dull, it certainly isn't--especially since so many of the moments in the film are incredibly touching and honest.

The main plot line involves the happy man and his daughter living contented lives with each other in post-war Japan. While the father is a widow and he had no other children, he appears to be a genuinely happy and kind man. The daughter is also very content with their life and sees no need to marry. However, outside forces (friends as well as a meddling aunt) push them--trying to get the girl married despite her objections. And after a short time, the father, too, begins to feel this is for the best--even though it will mean losing the most precious person in his life. This struggle is just amazing to watch and is dealt with so honestly and beautifully that I strongly recommend you see this film. An amazing film you just need to see for yourself--just don't be put off by its slow pace--it's all part of the overall artistry of Ozu.

'Late Spring' is one of three films that make up the Noriko Trilogy. The others being Yasujiro Ozu's masterpiece 'Tokyo Story' and 'Early Summer', this film being the first of the three and 'Tokyo Story' being the last. Eventually getting through enough of Ozu's work to give him an even higher appraisal than when being blown away by 'Tokyo Story' and 'An Autumn Afternoon' some years ago, it is my feeling that he is one of the greats even if his films require patience.

It is very easy to see why 'Late Spring' is considered one of his best and its critical acclaim is more than richly deserved. While 'Tokyo Story' is still my personal favourite of Ozu's films, 'Late Spring' is an extremely close second and has everything that makes that film the masterpiece that it is. Like his other films, it does require patience as the first portion is particularly deliberate if one is not already familiar with his style. Being somebody who is, the pace was not a problem (though a couple of his films did suffer a little from it when the plots were particularly slight, for example 'Early Spring').

An obvious starting point in praising 'Late Spring' is the acting. While Chishu Ryu brings all the qualities that he brought to his other roles in Ozu's films (being an Ozu regular),in a typically nuanced portrayal, Setsuko Hara's (another Ozu regular) equally sensitive and again benevolent performance is even better. All the acting is great, but those two stand out and their story provides 'Late Spring's' heart. Their characters are also very easy to warm to and identify with, Noriko especially, in a film where the characters in general are easy to get behind in both their strengths and flaws.

Ozu's direction is always assured and understated without ever sleepwalking. 'Late Spring' is beautifully photographed, with a lot of pillow shots and low angles often associated with Ozu, and doesn't try to do too much while opening up the drama enough that it doesn't become too static. Lovely use of interiors too. The music score matches the gentle, sensitive tone of the film with no issue at all.

The script is masterful in its use of language and both poetic and honest, flowing beautifully. The story also connected with me greatly, with an emotionally devastating ending in particular, there is a very strong emotional core here and it feels very human. Ozu was a master at his portrayal of the middle-class and the family melodramas that surround them, and one can see why in this, one of the finest and most moving examples of his work to have that (second only to 'Tokyo Story' and that is a close call).

In summary, outstanding film all round and one of Ozu's masterpieces. 10/10