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Higanbana (1958) More at IMDbPro »


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Overview

User Rating:
8.0/10   715 votes
MOVIEmeter: ?
Up 9% in popularity this week. See why on IMDbPro.
Director:
Writers:
Kôgo Noda (writer)
Yasujiro Ozu (writer)
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Contact:
View company contact information for Higanbana on IMDbPro.
Release Date:
June 1977 (USA) more
Genre:
Plot:
A businessman clashes with his elder daughter over her choice of a husband. full summary | add synopsis
Awards:
2 wins more
User Comments:
Stilted but excellent more (6 total)

Cast

  (Credited cast)
Shin Saburi ... Wataru Hirayama
Kinuyo Tanaka ... Kiyoko Hirayama
Ineko Arima ... Setsuko Hirayama
Yoshiko Kuga ... Fumiko Mikami
Keiji Sada ... Masahiko Taniguchi
Teiji Takahashi ... Shotaru Kondo
Miyuki Kuwano ... Hisako Hirayama
Chishû Ryû ... Shukichi Mikami
Chieko Naniwa ... Hatsu Sasaki
rest of cast listed alphabetically:
Ryuji Kita ... Heinosuke Horie
Nobuo Nakamura ... Toshihiko Kawai
Mutsuko Sakura ... Akemi
Toyo Takahashi ... Wakamatsu's owner
Fumio Watanabe ... Ichiro Nagamura
Fujiko Yamamoto
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Additional Details

Also Known As:
Equinox Flower
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Runtime:
118 min
Country:
Language:
Color:
Sound Mix:
Certification:
Company:

Fun Stuff

Trivia:
This was Yasujiro Ozu's first film in color. more
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FAQ

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17 out of 23 people found the following comment useful.
Stilted but excellent, 15 December 2001
8/10
Author: sharptongue from Sydney, Australia

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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