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Good Morning (1959)
"Ohayô" (original title)

 -  Comedy | Drama  -  February 1962 (USA)
7.9
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Ratings: 7.9/10 from 3,665 users  
Reviews: 30 user | 49 critic

Two boys begin a silence strike to press their parents into buying them a television set.

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Cast

Cast overview, first billed only:
Keiji Sada ...
Heiichirô Fukui
...
Setsuko Arita
...
Keitarô Hayashi
Kuniko Miyake ...
Tamiko Hayashi
Haruko Sugimura ...
Kikue Haraguchi
Kôji Shitara ...
Minoru Hayashi
Masahiko Shimazu ...
Isamu Hayashi
Kyôko Izumi ...
Midori Maruyama
Toyo Takahashi ...
Shige Ôkubo
Sadako Sawamura ...
Kayoko Fukui
Eijirô Tôno ...
Tomizawa
Teruko Nagaoka ...
Toyoko Tomizawa
Eiko Miyoshi ...
Mitsue Haraguchi
Haruo Tanaka ...
Haraguchi
Akira Ôizumi ...
Akira Maruyama
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Storyline

This movie takes a look at a very Westernized subarban Japan in the late 50's. It focuses mainly on the daily lives of a small community and the way its members interact. It also demonstrates the power of speech and the way in which small talk acts as a lubricant for our daily lives. Written by <PastaQueen2@hotmail.com>

Plot Summary | Plot Synopsis

Genres:

Comedy | Drama

Certificate:

Not Rated | See all certifications »
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Details

Country:

Language:

Release Date:

February 1962 (USA)  »

Also Known As:

Good Morning  »

Company Credits

Production Co:

 »
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Technical Specs

Runtime:

Sound Mix:

Color:

Aspect Ratio:

1.37 : 1
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Did You Know?

Trivia

Yasujirô Ozu:  [movie posters]  Ozu pays tribute to his cinematic influences by putting all kinds of film posters all over the wall in his films. In this movie, there are two posters, one of The Defiant Ones (1958) (at 08:30) and one of The Lovers (1958) (at 08:07), both at the neighbors' house. See more »

Quotes

Keitarô Hayashi: Someone said TV would produce 100 million idiots.
See more »

Connections

References The Lovers (1958) See more »

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User Reviews

sharp, funny and wise
5 January 2004 | by (Belgium) – See all my reviews

This movie is sometimes called a remake of Ozu's silent I Was Born, But..., however, for an artist that would repeat and retread various themes and story-elements throughout his work, ‘remake' is a big word. Both I Was Born and Ohayo contain a strike by two boys against their parents, but that's about the only thing they have in common. It's much more interesting to look at the differences: In I Was Born, But... the kids go on a hunger-strike after seeing their father humiliate himself in front of his boss. The strike is therefore one for such old-school values as honor and dignity. No such lofty goals in Ohayo, here the object of the strike is that ultimate symbol of western consumerism, the television. One could conclude that in this change lies Ozu's criticism, that he is bemoaning how traditional Japanese values are being exchanged for materialism. That, however, would be far too simple. In I Was Born But,... the kids had to compromise, in Ohayo it's the parents who compromise. The kids in Ohayo get their television, the kids in I Was Born But,... had to learn that for their father, supporting his family is more important than upholding samurai-ideals. Neither movie is a criticism on, but a clear-eyed portrait of a changing society.

The main theme in Ohayo is communication. The kids want a television, the parents don't and in an argument one of the boys remarks how adults talk a lot but never say anything important. Consequently, the kids refuse to talk until they get their tv. Chaos and comedy ensues and meanwhile Ozu and Noda incorporate some sharp observations in their script on our inability to communicate meaningfully with each other. The scene in which two people who have an inexpressed love for each other talk about the weather is as funny as it is tragic.

And I almost forgot to mention: Ohayo contains some of the funniest fart-jokes in any movie.

***1/2


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