Banshun (1949)

Director:

Yasujiro Ozu

Writers:

Kazuo Hirotsu (based on the novel "Chichi to musume" by)
Kôgo Noda (screenplay) ...

Release Date:

21 July 1972 (USA)

Genre:

Drama

Plot:

Noriko is 27 years old and still living with her widowed father. Everybody tries to talk her into marrying, but Noriko wants to stay taking care of her father.

Plot Keywords:

Widower | Marriage | Baseball Bat | Spinster | Affection

Awards:

5 wins

Cast

Chishû Ryû	...	Shukichi Somiya
Setsuko Hara	...	Noriko Somiya
Yumeji Tsukioka	...	Aya Kitagawa
Haruko Sugimura	...	Masa Taguchi
Hohi Aoki	...	Katsuyoshi
Jun Usami	...	Shuichi Hattori
Kuniko Miyake	...	Akiko Miwa
Masao Mishima	...	Jo Onodera
Yoshiko Tsubouchi	...	Kiku
Yôko Katsuragi	...	Misako
Toyo Takahashi	...	Shige (as Toyoko Takahashi)
Jun Tanizaki	...	Seizo Hayashi
Ichirô Shimizu	...	Takigawa's master
Youko Benisawa	...	Teahouse Proprietress
Manzaburo Umewaka	...	Shite

Also Known As:

Late Spring (USA)

Runtime:

108 min

Country:

Japan

Language:

Japanese

Color:

Black and White

Aspect Ratio:

1.37 : 1

Sound Mix:

Mono

Certification:

Australia:G

Filming Locations:

Chigasaki, Kanagawa, Japan

Company:

Shôchiku Eiga

Goofs:

Crew or equipment visible: A camera/dolly shadow is visible on the sidewalk as it follows Noriko walking.

Movie Connections:

Referenced in Ikite wa mita keredo - Ozu Yasujirô den (1983)

Setsuko Hara's remarkable performance highlights a powerful story of the role of women in post-war Japan

Robin Woods in his fascinating new book of criticism "Sexual Politics and Narrative Film" writes eloquently about this film as a defining example of Ozu's films progressive nature. I would agree and add wholeheartedly that even after reading Wood's non-traditional take on Ozu I was still blown away by the film's rich identification with the character of Noriko (played by the legendary Setsuko Hara). The story is simple: Noriko a single Japanese woman is living a seemingly happy life caring for her widowed aging father. Social pressures, however, force family and friends to believe that Noriko can only be fulfilled by entering into marriage, although Noriko seems to have no interest in marriage herself. With this simple narrative Ozu is able to create a relationship between his characters that is so rich and complete we feel we know them. As always this is done with the smallest of carefully studied behavior and the precision of mise-en-scene over fancy editing and dazzling camera movements. A wonderful, heartbreakingly real movie from one of Japan's greatest directors.