The End of Summer (1961)
"Kohayagawa-ke no aki" (original title)

Director:

Yasujirô Ozu

Writers:

Kôgo Noda (screenplay), Yasujirô Ozu (screenplay)

Stars:

Ganjirô Nakamura, Setsuko Hara, Yôko Tsukasa

1 win & 1 nomination.

Cast

Cast overview, first billed only:
Ganjirô Nakamura	...	Kohayagawa Manbei
Setsuko Hara	...	Akiko
Yôko Tsukasa	...	Noriko, second daughter
Michiyo Aratama	...	Fumiko, eldest daughter
Keiju Kobayashi	...	Hisao, Fumiko's husband
Masahiko Shimazu	...	Masao, third son
Hisaya Morishige	...	Isomura Eiichirou
Chieko Naniwa	...	Sasaki Tsune
Reiko Dan	...	Yuriko, her daughter
Haruko Sugimura	...	Katou Shige
Daisuke Katô	...	Kitagawa Yanosuke
Haruko Tôgô	...	Kitagawa Teruko
Yumi Shirakawa	...	Nakanishi Takako
Akira Takarada	...	Teramoto Tadashi
Kyû Sazanka	...	Yamaguchi, Chief clerk

Storyline

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Plot Keywords:

arranged marriage | old love | love | japanese culture | patriarch | 

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Genres:

Drama

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Details

Country:

Japan

Language:

Japanese English

Release Date:

February 1962 (USA)

Also Known As:

The End of Summer

Company Credits

Production Co:

Toho Company, Takarazaka Productions

Technical Specs

Runtime:

103 min

Sound Mix:

Mono

Color:

Color

Aspect Ratio:

1.37 : 1

Did You Know?

Connections

Referenced in The Life and Works of Yasujiro Ozu (1983)

User Reviews

Ozu's growing penchant for death.

The penultimate film in his astonishing oeuvre, Yasujiro Ozu's story about an aging widower and his relationship with his three very different daughters has a strong sense of death throughout, contradicted with some of the most gorgeous cinematography available in cinema. Ozu's typical minimalist and economical visual style are quite conducive to realizing this theme, showing how even the most beautiful and poetic elements of life eventually run their course, as does everything in this life.

The main crux of the story rests on the patriarch of the family, Manbei, who continues to see a woman he knew while he was married, a notion which naturally upsets at least one of his daughters. The other two seem more pensive about the situation, leading them to contemplate their own lives as the eldest is widowed herself and debating whether or not to remarry while the youngest is wondering who she should marry. It is worth noting how Ozu portrays the elder generation as being more open to passion and vigorous living than the younger. The conclusion seems to be that despite the inevitability of death, how one lives one's life determines how they will be remembered rather than who they were perceived to be. Though death remains ever-important, it cannot and should not prevent one from attempting to live to the fullest possible existence.