Weizenherbst (1951)

Weizenherbst: Directed by Yasujirô Ozu. With Setsuko Hara, Chishû Ryû, Chikage Awashima, Kuniko Miyake. A family chooses a match for their daughter Noriko, but she, surprisingly, has her own plans.

“I did not know much about Yasujiro Ozuu0026#39;s films prior to seeing Early Summer. I knew he was as big an influence in the West as Akira Kurosawa. It is not difficult to understand Kurosawau0026#39;s influence since his films were largely influenced by John Ford and his stories were occasionally based on Shakespeare. Ozu, seems to take a quiet and simple approach to the cinematic experience.u003cbr/u003eu003cbr/u003eu0026quot;Early Summeru0026quot; is about a time when families extend and break apart. We are introduced to the Mamiya family, a typical family of 1950u0026#39;s post war Japan, who we see going about their daily life routines. The protagonist is the daughter Noriko, a 28 year old girl whose parents believe is ready to get married. One day, Noriko is recommended a man Takako, who is an associate of her boss. Noriko considers the offer but does not spark much interest. Her parents try to encourage her daughter to marry this man but after learning that Takako is much older, Noriko becomes even more reluctant. One day, their close neighbor Kenkichi, has been offered a job outside of Tokyo and has decided to leave. It is Kenkichi who Noriko suddenly decides to marry. The Mamiya family becomes upset because Kenkichi is not only moving away from home but he is also a widower with a child. The parents soon realize that they will have to accept and nothing will be the same again. The story has a somewhat similar structure to a documentary in that we sometimes feel as though we are witnessing real life as it happens. Much of what occurs throughout the film is not directly connected to the story. There is no surprise or ironic conclusion. Everything seems inevitable and there is no major surprises or conclusions. u0026quot;Early Summeru0026quot; helps us think about the essence of selfishness in the Japanese nuclear family. It is uncommon for Japanese families to leave the family because independence is looked down upon. At the same time, it is inevitable that things change for better or for worse. There is a wonderful scene with the grandparents contemplating on Noriko and their lives. u0026quot;Things couldnu0026#39;t be betteru0026quot; says the grandfather. u0026quot;Well they couldu0026quot; says the grandmother. The grandfather replies,u0026quot;please, we must not expect too much from lifeu0026quot; This seems to be an important awareness of the film and one that exists between the Mamiya family. Noriko accepts who sheu0026#39;s in love with not because she seeked him out but because it occurred when she least expected. She tries to read into her future and accepts that marriage will be difficult. There is another wonderful moment after she has accepted Kenkichiu0026#39;s mother to marry her son, she is seen walking home and passes by her soon to be husband. Their exchange is very subtle and brief and yet we know they are going to spend the rest of their lives together. This scene is presented in an ironic way that helps us to pay close attention to the mundaneness of our lives. These are the moments that help us see the world in better light. Ozu has a great eye for timing, atmosphere and above all, humor. There is nothing pretentious about this film. It is an examination of family unity and the passing transition of marriage.”