Late Spring
(1949)
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Late Spring
(1949)
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| Cast overview, first billed only: | |||
| Chishû Ryû | ... |
Shukichi Somiya
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| Setsuko Hara | ... |
Noriko Somiya
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Yumeji Tsukioka | ... |
Aya Kitagawa
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Haruko Sugimura | ... |
Masa Taguchi
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Hohi Aoki | ... |
Katsuyoshi
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Jun Usami | ... |
Shôichi Hattori
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Kuniko Miyake | ... |
Akiko Miwa
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Masao Mishima | ... |
Jo Onodera
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Yoshiko Tsubouchi | ... |
Kiku
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Yôko Katsuragi | ... |
Misako
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Toyo Takahashi | ... |
Shige
(as Toyoko Takahashi)
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Jun Tanizaki | ... |
Seizô Hayashi
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Ichirô Shimizu | ... |
Takigawa's master
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Yôko Benisawa | ... |
Teahouse Proprietress
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Manzaburo Umewaka | ... |
Shite
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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 (imdb@tiele.nl)
A widower and his daughter Noriko happily live together until an aunt suggests that it might be time for Noriko to get married. Although she does not want to leave and he does not want to be left, the father convinces Noriko (and himself) that marriage is in her best interest.
This is premium-Ozu: an ordinary story about ordinary people that is extraordinarily moving. It is aided enormously by the two main performers: Chishu Ryu, an actor who can put more meaning and emotion in one single 'Hmm' than Keanu Reeves has ever managed in his entire career and Setsuko Hara, who lends her character an amazing depth despite being stuck with the Sandra Dee-part. Their relationship is not expounded on in lengthy dialogue or elaborate expositional scenes, but is made evident through body-language. A subtle shift in posture when the other person enters the room, a look or a smile make us understand the close friendship these two people share.
The narration is playfully oblique, first introducing us to a possible love-interest, withholding the information that he is already engaged (something which Noriko knows, but we don't), then never showing us the real husband-to-be. Yet, by the end, Ozu has told us all the important things about his main characters and it feels not like we've watched a movie about them, but have shared a piece of their lives.