IMDb > An Autumn Afternoon (1962)
Sanma no aji
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An Autumn Afternoon (1962) More at IMDbPro »Sanma no aji (original title)

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Kôgo Noda (screenplay) &
Yasujirô Ozu (screenplay)
View company contact information for An Autumn Afternoon on IMDbPro.
Release Date:
1964 (USA) See more »
An aging widower arranges a marriage for his only daughter. Full summary » | Add synopsis »
4 wins See more »
User Reviews:
A widower decides that his 24-year old daughter should leave him and marry See more (20 total) »


  (in credits order) (complete, awaiting verification)

Chishû Ryû ... Shuhei Hirayama

Shima Iwashita ... Michiko Hirayama
Keiji Sada ... Koichi
Mariko Okada ... Akiko
Teruo Yoshida ... Yutaka Miura
Noriko Maki ... Fusako Taguchi
Shin'ichirô Mikami ... Kazuo
Nobuo Nakamura ... Shuzo Kawai
Eijirô Tôno ... Sakuma, The 'Gourd'
Kuniko Miyake ... Nobuko

Kyôko Kishida ... 'Kaoru' no Madame
Michiyo Tamaki ... Tamako, gosai
Ryûji Kita ... Shin Horie
Toyo Takahashi ... 'Wakamatsu' no Okami
Shinobu Asaji ... Youko Sasaki, hisho
Masao Oda ... Dousousei Watanabe
Fujio Suga ... Suikyaku A
Zenichi Inagawa (as Yoshikazu Inagawa)
Matsuko Shiga
Hisayo Komachi
Tami Yamamoto
Kentarô Imai
Daisuke Katô ... Yoshitaro Sakamoto
Haruko Sugimura ... Tomoko
Tsûsai Sugawara ... Dousousei Sugai (special appearance)
Yasuo Ogata ... Dousousei Ogata (special appearance)

Directed by
Yasujirô Ozu 
Writing credits
Kôgo Noda (screenplay) &
Yasujirô Ozu (screenplay)

Produced by
Shizuo Yamanouchi .... producer
Original Music by
Takanobu Saitô 
Cinematography by
Yûharu Atsuta 
Film Editing by
Yoshiyasu Hamamura 
Production Design by
Minoru Kanekatsu 
Art Direction by
Tatsuo Hamada 
Shigeo Ogiwara 
Costume Design by
Yûji Nagashima 
Second Unit Director or Assistant Director
Kôzô Tashiro .... assistant director
Art Department
Isamu Ishii .... set dresser
Shigeo Ogiwara .... assistant art director
Toshio Takahashi .... set designer
Sound Department
Yoshiomi Hori .... assistant sound
Ichiro Ishii .... supervising sound editor
Yoshisaburô Senoo .... sound recordist
Visual Effects by
Akira Watanabe .... colorist
Camera and Electrical Department
Kenzô Ishiwata .... lighting technician
Shôichi Motohashi .... lighting assistant
Motoshige Oikawa .... lighting technician
Other crew
Akiharu Hashimoto .... title designer

Production CompaniesDistributors

Additional Details

Also Known As:
"Sanma no aji" - Japan (original title)
See more »
112 min
Aspect Ratio:
1.37 : 1 See more »
Sound Mix:

Did You Know?

In many ways, this is a remake of Yasujirô Ozu's Late Spring (1949). In both films, the director's favorite actor, 'Chishu Ryu', plays a widower trying to persuade his grown-up daughter to get married.See more »
Movie Connections:
Referenced in I Lived, But... (1983)See more »


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3 out of 3 people found the following review useful.
A widower decides that his 24-year old daughter should leave him and marry, 18 July 2013
Author: msroz from United States

"An Autumn Afternoon" is the first Ozu film that I've watched. Since the other reviews more than adequately describe the plot and the actors, I shall omit another summary, but I will mention that the acting was excellent all the way around. Instead I'll give some reactions.

I watched the 113m Criterion version. The subtitles were easy to read and the colors very rich. For a movie running nearly 2 hours, the time flew by. It never seemed slow.

I felt that, although Japanese cultural uniqueness pervades every aspect of the film, nevertheless the characters and themes are still universal. The film lovingly touches human issues of family life, and family life is something that most human beings experience, apart from children who are separated from family. It doesn't provide easy answers, however, to the problems of aging, death, mistakes, tragedy, loneliness, obligations and outworn social codes. It is apparent that money doesn't answer to many such problems.

The use of color and the compositions captured by the cinematography are very striking indeed. This design alone is a big plus. The red seems to mean passion, the senses, and also modernity. The two young women, one married, one not, both wear red at different scenes. This unites them, although the married one is more liberated and the unmarried daughter wants to be but doesn't express it.

By and large the movie shows interiors, and they are extremely neat, geometric and well-ordered. The film's orderliness communicates a constrained and ordered social life. While there is much human expression that is up front and blunt, nevertheless it has certain bounds and restraint. This is an amazing combination hard to fathom for someone outside the culture.

There are a few scenes that move away from the middle-class interiors to show poorer areas or the outside of apartment housing. Even in these cases, we see ordered constructions. It as if the Japanese were trying to structure an ordered society after the extraordinary chaos and devastation of their war experiences.

Several scenes have a sports-based emphasis (baseball and golf), and these express the American influence.

The men do a great deal of drinking, and they prize western scotch, like Johnny Walker Red. The message, not unique to Japan, is that modern man needs a release from various tensions of everyday life, family and work, and he finds it in drink.

When drink leads to inebriation, it's associated in the film with a degree of dejection, hanging one's head, and being alone as one character, the old school teacher, makes very clear. The main character, the father, who faces this prospect is drinking too heavily and he will have to overcome this. But we feel optimistic about this because he has an eye for a younger woman who runs a little bar.

The sailor who used to be on the father's destroyer also is ground for optimism. He came back to find his house burned down, but he borrowed and was able to build up his income.

He doesn't understand why Japan lost, and that is a very deep question not explored in the film. But it shows something common to most nations and peoples, which is insularity, an inability to see beyond one's own borders and even within one's borders an inability to see matters objectively because of exposure to biased history. The older and more experienced man, however, who suggests that it was better that Japan lost, may possibly have a deeper understanding of Japanese imperialism. Ozu and the script were perhaps too accommodating to America's victory, especially since the U.S. government egged Japan on to war.

I like Japanese movies a great deal. They are unafraid to delve deeply into matters of the human being and society.

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