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Good Morning (1959)

Ohayô (original title)
Not Rated | | Comedy, Drama | February 1962 (USA)
Good Morning Poster
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:
... Heiichirô Fukui
... Setsuko Arita
... Keitarô Hayashi
... Tamiko Hayashi
... Kikue Haraguchi
... Minoru Hayashi
Masahiko Shimazu ... Isamu Hayashi
Kyôko Izumi ... Midori Maruyama
... Shige Ôkubo
Sadako Sawamura ... Kayoko Fukui
... 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 Westernized suburban area in Japan in the late '50s. It focuses mainly on the daily lives of a small community and the way its members interact. It also demonstrates the power of oral communication and the way in which small talk acts as a lubricant for our daily lives. Written by <PastaQueen2@hotmail.com>

Plot Summary | Plot Synopsis

Plot Keywords:

flatulence | kameido station | schoolteacher | hotel chinzanso | soup | See All (136) »

Genres:

Comedy | Drama

Certificate:

Not Rated | See all certifications »

Parents Guide:

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Details

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Release Date:

February 1962 (USA)  »

Also Known As:

Good Morning  »

Company Credits

Production Co:

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Technical Specs

Runtime:

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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

Isamu: A mess, isn't it?
Minoru: Fun, isn't it?
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Connections

Remake of I Was Born, But... (1932) See more »

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User Reviews

 
An Ironic Film About Language
7 September 2003 | by – See all my reviews

It may have the skimpiest of plots--two young brothers take a vow of silence until their parents buy them a television--but Yasujiro Ozu's 1959 picture is anything but slight, taking on the subject of language (ironic, considering the story) with attentiveness and intelligence. In his deliberate, contemplative manner, Ozu presents a wry commentary on the ways even the most innocuous words can harm (gossip) or become the building blocks of a relationship (a budding romance is confirmed by a conversation about the weather); he also notes Japan's growing fascination with the English language (the older boy studies it) and the increasing obsession, now with fourteen years of distance from the war, with American technology--the suburban landscape is peppered with aerial antennas as television begins to permeate the culture. It's subtly beautiful: each shot is perfectly framed (the camera never moves) with an excellent use of depth that highlights exactly what the director wants you to see and giving you plenty of space to focus; it's easy to see how a master of today's Asian cinema such as Wong Kar-Wai would be profoundly influenced by Ozu's languid yet carefully observed filmmaking. A delight; it's also a fine introduction for younger viewers to the magnificence of international cinema.
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