An Autumn Afternoon (1962)
"Sanma no aji" (original title)

Not Rated  |   |  Drama  |  1964 (USA)
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An aging widower arranges a marriage for his only daughter.



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Cast overview, first billed only:
Shuhei Hirayama
Michiko Hirayama
Keiji Sada ...
Mariko Okada ...
Teruo Yoshida ...
Yutaka Miura
Noriko Maki ...
Fusako Taguchi
Shin'ichirô Mikami ...
Shuzo Kawai
Eijirô Tôno ...
Sakuma, The 'Gourd'
Kuniko Miyake ...
'Kaoru' no Madame
Michiyo Tamaki ...
Tamako, gosai
Ryûji Kita ...
Shin Horie
Toyo Takahashi ...
'Wakamatsu' no Okami
Shinobu Asaji ...
Youko Sasaki, hisho


In the early 60's in Tokyo, the widower Hirayama is a former captain from the Japanese navy that works as a manager of a factory and lives with his twenty-four year-old daughter Michiko and his son Kazuo in his house. His older son Koichi is married with Akiko that are compulsive consumers and Akiko financially controls their expenses. Hirayama frequently meets his old friends Kawai and Professor Horie, who is married with a younger wife, to drink in a bar. When their school teacher Sakuma comes to a reunion of Hirayama with old school mates, they learn that the old man lives with his daughter that stayed single to take care of him. Michiko lives a happy life with her father and her brother, but Hirayama feels that it is time to let her go and tries to arrange a marriage for her. Written by Claudio Carvalho, Rio de Janeiro, Brazil

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Release Date:

1964 (USA)  »

Also Known As:

An Autumn Afternoon  »

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Aspect Ratio:

1.37 : 1
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Did You Know?


The last film directed by Yasujirô Ozu. See more »


Referenced in I Lived, But... (1983) See more »

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User Reviews

A Great Introduction To Ozu
30 November 2002 | by (Chapel Hill, NC, USA) – See all my reviews

This was one of the first Ozu films I saw, and is one of my favorites. Ozu's themes - a family adjusts uneasily to the rapidly shifting traditions of life in middle-class, postwar Japan - are handled with great subtlety, and many dark ironies are to be found beneath the fragile quietude at this film's surface. This isn't just applicable to Japan, and this realization gives this film a sad sting that stuck with me long after the movie was over. Ozu's famous 'look' - no closeups, no crane shots, a still camera fixed at 3 1/2 feet off the floor or ground also gives this film an unforgettable grace and beauty. DVD please???

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