6.8/10
101
3 user 3 critic

Spring Dreams (1960)

Haru no yume (original title)
A homeless man falls ill near a wealthy family's home, who take him in and find themselves dealing with his visiting friends.

Director:

Keisuke Kinoshita

Writer:

Keisuke Kinoshita (screenplay)
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Cast

Cast overview, first billed only:
Mariko Okada Mariko Okada ... Chizuko Okudaira
Yoshiko Kuga ... Kazuko Yasugi
Eitarô Ozawa ... Shôbei Okudaira
Michiko Araki ... Yae
Yatsuko Tan'ami Yatsuko Tan'ami ... Tamiko Okudaira
Chieko Higashiyama ... Grandma
Toyozô Yamamoto Toyozô Yamamoto ... Yocchan
Yûsuke Kawazu ... Mamoru Okudaira
Yukiyo Toake Yukiyo Toake ... Umeko
Miki Mori Miki Mori ... Ema
Kazuya Kosaka Kazuya Kosaka ... Yukio
Natsuko Kahara ... Osachi
Shinji Tanaka Shinji Tanaka ... Eiichi Katô
Mie Fuji Mie Fuji ... Haruko
Masao Oda ... Takeuchi
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Storyline

An elderly sweet potato vendor collapses in the home of a self-absorbed wealthy family. He must be allowed to remain there while he recovers, and a screwball comedy of manners ensues. A host of family and visitors comes and goes, disrupting hopes of the greedy patriarch for peace and quiet, and subplots swirl. Movie fans will recognize elements of It Happened on Fifth Avenue, The Man Who Came To Dinner, and Boudu Saved From Drowning.

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Plot Keywords:

screwball comedy | See All (1) »

Genres:

Comedy

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Details

Country:

Japan

Language:

Japanese

Release Date:

3 January 1960 (Japan) See more »

Also Known As:

Spring Dreams See more »

Company Credits

Production Co:

Shochiku See more »
Show more on IMDbPro »

Technical Specs

Runtime:

Sound Mix:

Mono

Color:

Color

Aspect Ratio:

2.35 : 1
See full technical specs »

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User Reviews

 
Starts Like BOUDU
21 March 2018 | by bobliptonSee all my reviews

When this movie begins with a poor sweet-potato seller collapsing in the house of a rich industrialist, and his self-obsessed family acting their worst around him, you can't help but think this is going to be a Japanese version of BOUDU SAVED FROM DROWNING. Indeed, for a long time it proceeds that way, and it's clear that Keisuke Kinoshita had begun his movie with Renoir's as a ground plan. However, his center-of-the-storm is Chishu Ryu, not that marvelous monster Michel Simon, so in the end the story flows differently. Story is, after all, about how characters behave and change in situations, and this movie's Christ-figure is nothing at all like Renoir's.

Visually, this movie is striking for the set design and colors. It begins with subdued colors, taupes and beiges and grey-painted walls, all shot head-on so that everything is neat and symmetric and dead. As the movie proceeds and actual emotions begin to make themselves felt, pinks begin to intrude and shapes comes to disturb that dead symmetry. The story is rarely surprising, but it is well performed and always wonderfully watchable.


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