Late Spring (1949)
"Banshun" (original title)

Not Rated  |   |  Drama  |  21 July 1972 (USA)
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Reviews: 55 user | 74 critic

Noriko is twenty-seven years old and still living with her widowed father. Everybody tries to talk her into marrying, but Noriko wants to stay at home caring for her father.



(based on the novel "Chichi to musume" by), (screenplay), 1 more credit »
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Cast overview, first billed only:
Yumeji Tsukioka ...
Aya Kitagawa
Haruko Sugimura ...
Masa Taguchi
Hohi Aoki ...
Jun Usami ...
Shôichi Hattori
Kuniko Miyake ...
Akiko Miwa
Masao Mishima ...
Jo Onodera
Yoshiko Tsubouchi ...
Yôko Katsuragi ...
Toyo Takahashi ...
Shige (as Toyoko Takahashi)
Jun Tanizaki ...
Seizô Hayashi
Ichirô Shimizu ...
Takigawa's master
Yôko Benisawa ...
Teahouse Proprietress
Manzaburo Umewaka ...


Noriko is 27 years old and is still living with her father Somiya, a widower. Noriko just recovered from an illness she developed in the war, and now the important question pops up: when will Noriko start thinking about marriage? Everybody who is important in her life tries to talk her into it: her father, her aunt, a girlfriend. But Noriko doesn't want to get married, she seems extremely happy with her life. She wants to stay with her father to take care of him. After all, she knows best of his manners and peculiarities. But Noriko's aunt doesn't want to give up. She arranges a partner for her and thinks of a plan that will convince Noriko her father can be left alone. Written by Arnoud Tiele (

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Release Date:

21 July 1972 (USA)  »

Also Known As:

Late Spring  »

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Aspect Ratio:

1.37 : 1
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Did You Know?


Most of the movie takes place in Kita-Kamakura, about 30 miles from downtown Tokyo. Several years after the release of the film, the director, 'Yasujiro Ozu', moved with his mother to the area and spent the rest of his life there. (His tomb is also located there.) Furthermore, the film's star, Setsuko Hara, also eventually moved to the area and, as of May 2013, reportedly still lives there under her birth name, Masae Aida. See more »


A camera/dolly shadow is visible on the sidewalk as it follows Noriko walking. See more »


Referenced in Stranger Than Paradise (1984) See more »

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User Reviews

Closure of a relationship between a widower and his daughter.
10 March 2003 | by (Beer-Sheva, Israel) – See all my reviews

In most of Yasujiro Ozu's movies, and in all of the ones seen by me, the people are, more or less, middle class. In "Late Spring," that description holds just barely, as the characters belong to the extreme academic elite. (I did a postdoc in Japan, but didn't move in circles anywhere near that rarefied.)

"Late Spring" tells the story of a widowed father and his single daughter. The father, a professor of considerable status, is very much an iconoclast, with a familiarity with foreign cultures that is deep and broad. The daughter, at ease among her father's colleagues, casually eats bread and bakes cakes herself. In many circumstances, these behaviors surely precipitate hails of abuse faster than you can say Masao Miyamoto. Yet the father has not hardened into a simplistic contrarian or provocateur, but shows a broad-minded appreciation of the variety of things wanted from life, and a far-sighted sense of the effort needed to attain them.

Although the daughter is growing a bit old for marriage, she and her father have a comfortable and interesting relationship, and they could easily go on for some time as they are. Marriage would be an unpleasant disruption, as the father is otherwise alone, and the daughter, not in love with anyone, cannot expect to find a match as sophisticated and companionable. But there is no future for her in remaining single.

Like, and in contrast to, Spielberg's "A.I.," with its negative illustration that love entails a concern for the other's future, "Late Spring" has a strong positive illustration of this -- the father's love for the daughter is especially palpable. The movie follows father and daughter feeling out things during the course of work, at home, and among friends. While the plot is in one sense pedestrian, in another sense, this is a critical point in their lives, and it is extremely dramatic, not despite but because of the absence of false melodrama. And it is a pleasure to spend two hours observing these thoughtful and fully human characters.

By most descriptions, the father merely pretends to toy with the idea of remarrying so his daughter will let go, and in fact plans to live out his days alone. But I don't see the father as having completely closed off the possibility. A marriage is arranged for the daughter, one that strikes me as realistic and nice. What does come poignantly to an end with the daughter's wedding is the life shared with her father.

9 of 11 people found this review helpful.  Was this review helpful to you?

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