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4 items from 2017

Filmadrid & Mubi: The Video Essay—"永遠の処女 - The Eternal Virgin"

9 June 2017 7:31 PM, PDT | MUBI | See recent MUBI news »

The Video Essay is a joint project of Mubi and Filmadrid Festival Internacional de Cine. Film analysis and criticism found a completely new and innovative path with the arrival of the video essay, a relatively recent form that already has its own masters and is becoming increasingly popular. The limits of this discipline are constantly expanding; new essayists are finding innovative ways to study the history of cinema working with images. With this non-competitive section of the festival both Mubi and Filmadrid will offer the platform and visibility the video essay deserves. The seven selected works will be shown during the dates of Filmadrid (June 8 - 17, 2017) on Mubi’s cinema publication, the Notebook. Also there will be a free public screening of the selected works during the festival. The selection was made by the programmers of Mubi and Filmadrid.永遠の処女 · The Eternal VirginVideo essay by Jorge Suárez-Quiñones RivasThe understanding of domestic, »

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Good Morning (ohayo)

9 June 2017 11:31 AM, PDT | Trailers from Hell | See recent Trailers from Hell news »

It’s Yasujiro Ozu in light mode, except that his insights into the human social mechanism make this cheerful neighborhood comedy as meaningful as his dramas. Two boys go on a ‘talk strike’ because they want a television set, a choice that has an effect on everyone around them. And what can you say about a movie with running jokes about flatulence . . . and is still a world-class classic?

Good Morning


The Criterion Collection 84

1959 / Color / 1:37 flat Academy / 94 min. / ohayo / available through The Criterion Collection / Street Date May 16, 2017 / 39.95

Starring: Keiji Sada, Yoshiko Kuga, Chishu Ryu, Kuniko Miyake, Haruko Sugimura, Koji Shitara, Masahiko Shimazu, Isamu Hayashi, Kyoko Izumi, Toyo Takahashi, Sadako Sawamura, Eijiro Tono.

Cinematography: Yushun Atsuta

Film Editor: Yoshiyasu Hamamura

Original Music: Toshiro Mayuzumi

Written by Yasujiro Ozu, Kogo Noda

Produced by Shizuo Yamanouchi

Directed by Yasujiro Ozu


Ozu’s Good Morning is a straight-out delight, being both inconsequential and insightful. »

- Glenn Erickson

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David Reviews Yasujiro Ozu’s Good Morning [Criterion Blu-ray Review]

19 May 2017 4:15 AM, PDT | CriterionCast | See recent CriterionCast news »

The long anticipated, seemingly inevitable but frustratingly overdue upgrade of Yasujiro Ozu’s second color film Good Morning finally became a reality earlier this week. A pristine new edition of Spine #84 has just landed on the shelves, and it’s a cause for joyful celebration for Ozu aficionados and newcomers alike, who now have the opportunity to rediscover one of the great director’s most enchanting films. It’s hard to overstate just how much a new transfer and a tidy array of supplemental features allow Good Morning‘s virtues to shine, but I can attest without reservation that this release feels every bit as essential and fully realized as any of the other three Ozu Blu-rays that Criterion has previously made available.

Yes, Tokyo StoryLate Spring and Autumn Afternoon, the director’s final film, are all widely esteemed as monumental works, whereas Good Morning is often relegated to “lesser Ozu” status. »

- David Blakeslee

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Review: “Good Morning” (1959; Directed by Yasujiro Ozu) (The Criterion Collection)

17 May 2017 6:10 AM, PDT | | See recent CinemaRetro news »

“Greetings And Farts”

By Raymond Benson

Master filmmaker Yasujiro Ozu’s late-period picture, Good Morning (Ohayō), is a curious, but amusing, slice-of-life portrait of a suburban neighborhood in contemporary (circa 1959) Japan. Ozu, mostly known for the gendai-geki film genre, i.e., modern dramas about family life and social conditions, also made a few comedies. He was a genius at depicting relationships between parents and children (Tokyo Story, 1953, is arguably his most admirable work), and Good Morning presents something of a parable about how a couple of young schoolboys influence an entire community of suspicious and gossipy housewives and lackadaisical “salary men” husbands.

A Western audience will deem the comedy subtle; cultural differences between East and West, especially when it comes to bathroom humor, decidedly determine how funny someone will think Good Morning really is. There are a lot of fart jokes in the film. In fact, Ozu uses farting as a way that characters communicate, »

- (Cinema Retro)

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