8.0/10
2,482
14 user 33 critic

Higanbana (1958)

A businessman clashes with his elder daughter over her choice of a husband.

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(original story), (screenplay) | 1 more credit »
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Cast

Credited cast:
...
Wataru Hirayama
...
Kiyoko Hirayama
...
Setsuko Hirayama
...
Fumiko Mikami
...
Masahiko Taniguchi
Teiji Takahashi ...
Shotaru Kondo
Miyuki Kuwano ...
Hisako Hirayama
...
Shukichi Mikami
Chieko Naniwa ...
Hatsu Sasaki
Rest of cast listed alphabetically:
Yôko Chimura ...
Nurse
Ureo Egawa ...
Schoolmate Nakanishi
Gazan Hasegawa
Aiko Ikumi ...
Inn maid
Kentarô Imai ...
Station attendant
Masahiko Inoue ...
Station attendant
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Storyline

A business man is often approached by friends for advice and help regarding marriage as well as family and romantic relationships. He is always very calmly and objectively able to give great insight and assistance to these particular situations. However, when it comes time for him to be objective regarding his oldest daughter, he finds it very difficult... Written by Karl Engel <cassiel@ix.netcom.com>

Plot Summary | Add Synopsis

Genres:

Comedy | Drama

Certificate:

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Details

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Release Date:

June 1977 (USA)  »

Also Known As:

A Flor do Equinócio  »

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Technical Specs

Runtime:

Sound Mix:

Color:

(Agfacolor)
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Did You Know?

Trivia

This was Yasujirô Ozu's first film in color. See more »


Soundtracks

Home, Sweet Home
Written by H.R. Bishop (uncredited)
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User Reviews

 
Stilted but excellent
15 December 2001 | by (Sydney, Australia) – See all my reviews

This is the first Ozu film I've seen, though I did see a film about him many years ago. Therefore, I am aware of Ozu's liking for a particular and eccentric camera angle, and his apparent preference for an acting style which is, depending on your point of view, understated, stilted or highly restricted. Ozu appears to like portraying what is perhaps the reality of a culture which values conformity.

Take a tip - adjust quickly to the apparently straightjacketed acting. This is an excellent cast, whose talent shines through even Ozu's iron hand.

And it makes the humour even more effective. I was astonished at just how much I, and the rest of the audience, laughed out loud at a few of the scenes. I find it difficult to simply convey why it works. Suffice to say Ozu is clearly a master of the slow buildup. There's a scene where the father takes one of his employees to a bar, to meet a girl who is the daughter of one of his friends. The girl has run away and cut off contact with her dad. The central character tries to get her to at least talk it over. The humour of this scene revolves around the acute embarrasment the junior employee feels, as a regular patron. Ozu milks this scene for every last laugh with a master's touch. Sounds dull as I've written it, right ? Well, on screen, it's a killer.

After this film, I'll look forward much more to my next Ozu.


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