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Ozu Yasujiro. A master filmmaker known for his delicate depictions of everyday life.
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His work asks, "How should we live now?"
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Every decade, the British Film Institute releases a list of
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"the greatest films of all time," compiled by directors from around the world.
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In 2012, Ozu's 1953 masterpiece Tokyo Story was voted number one.
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It's strange.
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We have children of our own.
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but you have done
the most for us -
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And you're not a blood
relative either.
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Thank you.
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From 1927 to 1962, Ozu made 54 films.
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Thirty-seven of them can be seen today.
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"I Was Born, But...,"
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A silent film, in which two elementary school boys see something that shakes their faith in their father.
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"Late Spring," the start of Ozu's legendary partnership with actor Hara Setsuko.
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"An Autumn Afternoon," his last film, a humorous depiction of the life of an aging man,
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lonely and alone after his daughter leaves home.
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Ozu was known for filming his actors from low positions, without moving the camera.
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This unique technique came to be known as the 'Ozu style.'
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You can't do without me.
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That can't be helped.
After all you're 24 years old.
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Sure, so why the big rush?
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Trouble is, the more you put
it off, the older you get.
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The 2023 Tokyo International Film Festival honored Ozu's life and career.
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Fans crowded into screenings of his work and symposiums about his legacy.
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German director Wim Wenders was the head of the jury.
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He is an avowed Ozu acolyte.
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Good afternoon, ladies and gentlemen.
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It is my great honor to be here with you on this very special
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...Autumn afternoon in Tokyo.
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Celebrating the great and one and only master Ozu Yasujiro,
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on the 120 anniversary of his death.
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120 years after his birth, 60 years after his death...
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What does Ozu Yasujiro mean to us now?
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The Mysteries of Ozu:
A Master Filmmaker's Enduring Legacy
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Re-evaluation
"One person cannot make films
in different styles."
Ozu Yasujiro
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Ozu rose to prominence during the 1950s, known as the Golden Age of Japanese cinema.
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His films were popular and widely discussed.
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In Japan, he was known as a master filmmaker.
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But he was still largely unknown to the outside world.
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By contrast, Kurosawa Akira's work seemed to strike a chord with foreign audiences.
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He became the first Japanese director in the postwar era to win top prize at a film festival overseas.
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Yamada Yoji started his career as an assistant director at Shochiku,
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a major film company where Ozu also worked.
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He has gone onto direct 90 movies,
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including the 2002 hit "Twilight Samurai" and the popular "Tora-san" series.
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What did he think of Ozu's movies at the time?
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I thought only Japanese people could
understand the beauty of Ozu's works.
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A world where people sit in a room,
chitchat, cool themselves with a paper fan.
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I assumed foreign viewers would never
understand this.
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At the time, Kurosawa Akira was
making "Seven Samurai."
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We weren't impressed with a film about
feeling lonely after your daughter gets married.
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Also, in terms of technique,
he was very conservative.
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The camera never moved,
the position was always low.
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No wipes, no fade-outs, nothing like that...
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He was a man who never tried
any of those new styles.
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Yamada eventually fell in love with Ozu's work in the 1980s,
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when he rewatched "Tokyo Story" for the first time in many years.
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"Tokyo Story" follows an elderly couple from Hiroshima as they visit their children in Tokyo.
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Their own children treat them like a nuisance.
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But they are looked after warmly by the wife of their second son, who was killed in the war.
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I wondered why this simple story left
such a lingering impression on me.
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The theme of the movie is...
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parents will be betrayed by their children
and in the end, they will die alone.
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It's a very sad outlook on life.
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He was still in his 40s
when he made the film.
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I once heard that a famous European director,
Wim Wenders, was very impressed by Ozu.
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I thought, "Wow, foreign viewers
understand Ozu's essence, too."
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Ozu depicted normal Japanese life to create
his own realm with unique expressions.
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And that's something everyone can appreciate.
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In fact, people overseas were the first
to recognize that.
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We were shocked
when we found that out.
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In the 1970s, Wim Wenders, an edgy up-and-coming director,
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watched Ozu's work for the first time.
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I saw them first in the mid-70s in New York, and they had English subtitles.
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Later when I traveled to Tokyo two years later in 1977,
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at the Japanese Film Institute, they had other prints of Ozu's work.
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But they were not subtitled, and they didn't have a translator for me.
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And then put the film's myself on the editing table, and I saw them
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all by myself without subtitles without translator.
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And I felt and I've seen 10 to 12 movies.
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And on the second day, I felt I spoke Japanese.
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I didn't miss any more the idea that I needed to understand. I understood anyway.
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Ozu's films tackled themes familiar to people around the world.
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His perceptive gaze resonated with Wenders, who said Ozu quickly became his north star.
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Relations between children and parents.
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The relation between children and the leftover parent, if father or mother dies.
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And the responsibilities of, let's say, a daughter toward
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the father was living alone and she's not leaving the house in order to take care of her father.
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These stories are very contemporary that every day... every day stories of every family,
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other grandparents who get lonely, I mean he shows the essence of family life.
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Perfectionist
"I follow the mainstream in matters of no importance.
I follow ethics in matters of importance.
I follow myself in matters of art."
Ozu Yasujiro
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A rare recording of Ozu speaking to a radio program in 1961 provides some insight into his filmmaking.
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I don't really want to take up
things I can't love.
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500 movies are made in a year. It's nice to
have at least one about something I love.
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How did Ozu make his films?
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Acclaimed actor Okada Mariko appeared in two of his films,
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"Late Autumn" and "An Autumn Afternoon."
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First, he gave everyone the script and
we got together for a reading day.
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Normally in a reading,
each actor reads their own part.
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But with Ozu, he read the whole thing.
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Or rather, he acted the whole thing.
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All the roles, the men and the women.
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And we had to act exactly the same way.
Nothing else was acceptable.
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We would start filming after the reading.
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Our movements were restricted in many ways.
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The challenge for us actors was to figure out
how to perform freely under those conditions.
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Don't sulk.
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If you want to go, go.
Play golf if you want.
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Like a spoiled child. If you
want to spend more, earn more!
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No comment?
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Ozu shared his beliefs about acting in a magazine article published in 1947.
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"It's not enough to be good at facial expression."
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"You have to understand the character."
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"Lots of actors try to express emotions without grasping the character."
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"That's why we have actors who are only good at making faces."
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"This might sound extreme, but I believe facial expressions can harm the way an actor shows personality."
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So the best type of acting is
Noh performance.
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The kind of acting you see in Noh is the best.
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Noh is a form of Japanese dramatic art that dates back to the 14th century.
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The actors are trained to express emotions while wearing a mask.
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You won't have to make a face
if you can create the feeling.
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To do that, you have to understand the role
and express it from the bottom of your heart.
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Okada spoke about what it was like to be on set with Ozu.
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It wasn't intimidating but the atmosphere was
quiet and tense.
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Usually, a film crew working in a studio is very
noisy. But with him, there was no sound at all.
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Even when a light was being set up,
it was silent.
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And of course, no one wasted any time talking.
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He showed an uncompromising attitude to
each and every detail.
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Ozu was particular about even a single inconspicuous prop.
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He made everything in his film exactly as he imagined.
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For example, when he filmed a scene
that took place in a nightlife area,
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there would be signs for
various bars along the street.
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Ozu designed them himself and
decided on the colors, too.
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Ozu controlled even these
small aspects of his filmmaking.
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This isn't normal for other directors.
They don't go this far.
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Reading between the lines
"I look into the camera, think deeply,
and try to capture the abundant love
inherent in human nature."
Ozu Yasujiro
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After the war, Ozu slowed his pace to about one film per year.
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He instead spent time perfecting his scripts.
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Each one took several months.
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During that time, he would live with his longtime screenwriter Noda Kogo.
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They would spend their days drinking and talking about the film.
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Ozu's notebooks from the period offer a glimpse into his process.
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He started with the storyline.
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After that was finished, he moved onto the structure of the film.
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Then, he worked on the dialogue, carefully editing the lines to suit each character.
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Once the script was finished, he drew the storyboards.
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Ozu had the complete film in his head before he even started filming.
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When I was writing the script,
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I had an image of what everything
would look like.
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So by the time I was working with Noda,
I already had all the scenes in my head.
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After that, I just tried to gather materials that would bring
everything as close as possible to what was in my head.
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That's my way of directing.
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I feel more joy when I finish the script because
that's when the ideas in my head are still pure.
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Ozu wrote many of his screenplays at the Chigasaki-Kan, a small inn outside Tokyo.
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It hasn't changed much since he was there in the early 50s.
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Suo Masayuki has directed many popular films,
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including "Shall We Dance?" and "A Terminal Trust."
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There are three rooms here,
but Ozu always stayed in room number 2.
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He visited the room where Ozu used to stay.
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It's a small 8-tatami room,
with a table and chairs by the window.
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He always created a frame
within a frame in his films.
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I don't think of myself as liking
specific Ozu films.
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I don't think, "This one was bad,
this one was good."
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I look at them as a single series,
a continuation starting in his silent period.
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All his films feel like his first,
all his films feel like his last.
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Ozu is incomparable.
That's why I got hooked on his work.
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He really is one of a kind.
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With his postwar work,
even if you haven't seen the whole film...
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you can tell from just a single cut,
"Ah, this is Ozu."
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You can tell who the director is from one cut.
Movies like that are rare.
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What part of Tokyo is this.
I wonder?
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A suburb, I think.
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It must be.
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It was a long ride from the station.
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I thought it would be in some livelier
part of the city.
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Here?
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Koichi wanted to move to a livelier
place but
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I'm afraid it wasn't easy.
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It's the pause that matters.
The pause he makes in the editing.
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How many frames do you keep after
the dialogue is over, that sort of thing.
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In haiku and poetry, you have to decide
where to put the line breaks.
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You intentionally leave lines blank.
Ozu's work is like that.
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Ozu once wrote about the similarities between Haiku and film.
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"A haiku is a poem that depicts an image or scene with just seventeen syllables,
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but still manages to expand the imagination and leave a lingering impression."
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"I think movies are like haiku, in that they summarize a long story in less than two hours, and project it on screen."
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Ozu's unique style allows us to see
what's not on screen and feel lots of emotions.
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It's a true form of art.
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He was able to create his own style
and his own art.
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I could never do something like that.
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On the battlefield
"I have no desire but to drink water,
eat good food,
and stretch my legs when I sleep."
Ozu Yasujiro
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A book series examining Ozu's approach to filmmaking was published in the late 1980s and early 90s.
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Its focus was to uncover more about Ozu's life,
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in order to get a better understanding of his films.
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The editor was cultural historian Tanaka Masasumi.
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He spent years combing through Ozu's diaries, letters, and other documents.
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Tanaka looked for documents in the national library
and lots of other places.
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His work is a very important reference
and the base for all Ozu studies.
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It's still very influential today.
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For example, Ozu was sent to mainland China
as a soldier in the late 1930s.
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Tanaka's research delves into that experience.
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It's important to study Ozu himself because
there's a lot you can't get from just analyzing his films.
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Tanaka did a lot of important work in this area.
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In 1937, Ozu fought on the frontline of the Second Sino-Japanese War.
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In Tanaka's words, documents from that time show that "Ozu was faced with the cruelty of war."
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Tanaka found texts that suggest filmmaking was always on Ozu's mind, even when he was on the battlefield.
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I was crawling on the ground when a mortar shell exploded near some apricot trees in front of me.
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The sound of apricots falling was very pleasant.
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Some of the trees had white blossoms that shed petals beautifully.
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I wish I could have filmed that scene.
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The Chigasaki City Museum of Art held an exhibition on Ozu in 2023.
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Professor Tsukiyama Hideo provided many of the materials that were on display.
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He collects Ozu artifacts, and has items related to the director's experiences on the battlefield.
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These are photographs Ozu took
while he was at war.
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Most of them were lost.
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The ones here have never been
shown to the public.
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Ozu took this photograph inside his barracks.
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Light shines through a window, and onto a lamp on the floor.
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Ozu had been given permission to take his favorite camera with him to the front.
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These are really interesting.
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While Ozu was off at war,
his mother Asae clipped...
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magazine and newspaper articles about him.
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The clippings were among items entrusted to Tsukiyama by Ozu's family.
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Ozu was already a well-known filmmaker when he went to war,
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and his experiences on the front were reported on by the press.
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One article even covered his mother's practice of clipping articles that mentioned her son.
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I think his time on the front had
a profound influence on his postwar films.
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People say his work didn't change,
but I think it changed a lot.
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Ozu wrote to his friends back home about what he saw on the battlefield.
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"One of our guys, a monk, was hit in the head."
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"His brain and blood started pouring out and he died on the spot, without saying a word."
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"A pharmacist was shot in the arm and his bone shattered."
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"The dead were cremated and the wounded were sent to hospitals."
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"We have fewer soldiers now."
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Every day, soldiers marching across the sweeping wheat fields of China
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without knowing when this would end.
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The despairing image became synonymous with the war.
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"Wheat and Soldiers," a novel written in the form of a soldier's diary.
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The author is Hino Ashihei, who served in the army at the same time as Ozu.
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The book shaped many people's ideas about the war.
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Ozu's "Early Summer" was released in 1951, six years after the war.
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"Wheat and Soldiers" is mentioned in a pivotal scene where Noriko, played by Hara Setsuko,
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bonds with Kenkichi, a close friend of her brother who was killed in the war.
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Shoji and I used to come here
as students.
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You did?
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Shoji and I often fought,
but I was very fond of him.
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During the battle of Xuzhou, he sent me
a letter with an ear of wheat inside.
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I was reading "Wheat and Soldiers."
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May I have that letter?
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Yes, I wanted you to.
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I'd love it.
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Hirayama Shukichi wrote a book that examines the relationship between Ozu's work and the war.
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When she hears her late brother's best friend
talk about "Wheat and Soldiers..."
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you see her feelings suddenly change.
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Her late brother has become
part of "the dead."
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It may sound strange, but in that scene
I think she decides to live with the dead.
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She chooses to live her life
carrying the memory of the dead.
29:32
The final scene of "Early Summer" is one of the few times Ozu uses a moving shot.
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He shows the vast wheat fields, stretching into the distance.
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Most people see the wheat fields and understand
there's some symbolic meaning.
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Over time, I've come to understand that
Ozu made this film as a tribute...
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to his friends who fought alongside him
and died on the battlefield.
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Shadow of a deceased friend
"I didn't want to just tell a story,
I wanted to portray something deeper,
something to do with
reincarnation or impermanence."
Ozu Yasujiro
30:39
In March 2023, Hirayama published a book challenging existing interpretations about Ozu's films.
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In it, he examines Ozu's relationships with Yamanaka Sadao,
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a director who served in China at the same time as him.
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and Hara Setsuko, who starred in six of his postwar films.
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Yamanaka was an up-and-coming director in the 1930s.
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He had made samurai films for a studio in Kyoto and was considered a promising talent.
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He greatly admired Ozu, who likewise held Yamanaka's talent in high regard.
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According to Ozu's diary, Yamanaka once traveled all the way from Kyoto to visit him in Tokyo.
31:48
In 1936, Yamanaka discovered an unknown 15-year-old by the name of Hara Setsuko
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and cast her in his film "Priest of Darkness."
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Hara's performance landed her a role in a Japanese-German co-production titled "The New Earth," the following year.
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This film launched her into major stardom.
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In July of that year, the Marco Polo Bridge Incident triggered the start of the second Sino-Japanese War.
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Yamanaka quickly received his draft notice, and shortly after, so did Ozu.
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They were two of the handful of active filmmakers sent to fight.
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After a year on the front, Yamanaka fell ill and died. He was 28 years old.
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Ozu reflected on his friend's death in his diary.
33:09
"It can't be helped, but I've lost someone I will miss so much and whose death is hard to accept."
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Yamanaka's death had a profound effect on Ozu's generation of Japanese filmmakers.
33:34
The Museum of Kyoto preserves documents related to Yamanaka, including a diary he kept in China.
33:47
Hirayama says there's one entry that Yamanaka clearly wrote with Hara Setsuko on his mind.
33:56
"We arrived at Shijiazhuang on the 27th."
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"The 'new earth' here is dusty and hard to walk on."
34:08
That might sound like a normal description,
but I think "the new earth" is a reference to...
34:17
"The New Earth," the movie that made
Hara Setsuko famous around the world.
34:22
There's also a letter that Yamanaka sent
to other directors.
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It includes the same words.
34:35
He writes "the new earth"
and the words are highlighted.
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So he wants the reader
to focus on that phrase.
34:48
It wasn't just a description of
the conditions in China.
34:52
He was probably referring to Hara Setsuko.
35:01
In 1949, four years after the war, Ozu chose Kyoto as the setting for a new film.
35:12
"Late Spring" was his first collaboration with Hara Setsuko.
35:17
It tells the story of a woman who lives with her father, a widower.
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He is trying to convince her to leave and get married.
35:31
Ryoanji Temple features prominently in one scene.
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The father, played by Ryu Chishu,
35:38
has just told his daughter that he plans to remarry, a lie that persuades her to finally leave home.
35:45
He reflects on fatherhood with a friend.
35:50
If I could choose, I'd prefer a son.
Daughters are irksome.
36:00
You raise them,
then give them away.
36:06
Hirayama believes he knows why Ozu chose to film the scene at this temple.
36:18
The two men are having a conversation
as they gaze at the stone garden.
36:25
I originally thought the point was
to show a well-known site in Kyoto.
36:32
But then I started to see it
from a different perspective,
36:38
and the scene took on a
completely different meaning.
36:46
I learned there's another temple
nearby called Seigenin.
36:52
When Yamanaka was about 20 and working as
an assistant director and screenwriter,
37:01
he apparently rented a room there
so he could write.
37:11
When I learned that...
37:17
I understood why Ozu chose Kyoto
to film "Late Spring."
37:22
He filmed the movie with Yamanaka in mind.
37:34
In 1935, Yamanaka made a film called
37:38
"Tange Sazen and the Pot Worth a Million Ryo."
37:43
Hirayama says the most iconic scene in "Late Spring" features a direct reference to the film.
37:54
The father and daughter are staying at an inn in Kyoto.
37:57
Their room has a vase, similar to the pot in Yamanaka's movie.
38:49
The camera lingers on the vase for a long time.
38:54
There are many different interpretations
of this scene.
39:00
What I think is that the vase is
actually the pot from...
39:05
Yamanaka's
"Tange Sazen and the Pot Worth a Million Ryo."
39:11
It's a very straightforward and
simple interpretation, but...
39:17
I think the pot represents Yamanaka.
39:26
Hirayama says that when Ozu turns his camera on Hara Setsuko,
39:31
he is also turning it on his old friend Yamanaka Sadao.
39:37
Ozu began to cast Hara Setsuko after the war,
beginning with "Late Spring."
39:43
He welcomed her into his work.
She was not just another actor for him.
39:53
She was the actor Yamanaka wanted to use
in all of his future films.
40:06
Or perhaps she was someone
Yamanaka was in love with.
40:17
Ozu made six films with Hara Setsuko.
40:20
He never spoke about the relationship between Hara and Yamanaka, and how it influenced his films.
40:32
It's important that he didn't say anything.
40:36
There are some things that can be preserved
on film, precisely because he didn't speak about them.
40:44
People watch Ozu's films are left with
an indescribable feeling in their hearts.
40:50
They are left wondering
what it was all about.
40:56
My opinion is just one viewpoint.
There are many ways of looking at it.
41:04
I think Ozu's films are made in such a way
so as to allow us to have diverse interpretations.
41:13
Rebirth
"The world we live in may seem complex,
but perhaps the essence of life is very simple."
Ozu Yasujiro
41:26
December 12th, 1963.
41:30
25 years after Yamanaka's death, Ozu Yasujiro dies on his 60th birthday.
41:37
He never married.
41:40
Sixty years on, the dialogue continues between Ozu's films and his acolytes.
41:47
To me too, he's a mysterious man.
41:52
He was an elegant man. Tall, elegant man.
41:57
Secretive not much is known about his private life.
42:04
There is a story that the love of his life was Setsuko Hara,
42:09
and for some reason, they couldn't live their love for each other.
42:15
Maybe it's myth. Maybe it's a legend.
42:21
I always believed the story because I thought
42:24
Setsuko Hara is the most beautiful actress in film history for me.
42:30
The way he wrote the film's is still a mystery to me.
42:34
The way he lived very much alone for a long time also with his mother.
42:44
In a strange way, sometimes I feel he lived like a monk.
42:53
With the nice appetite for a sake every now and then and for cigarettes.
43:05
Wenders released his newest work "Perfect Days" in 2023.
43:15
It portrays the daily life of a janitor named Hirayama.
43:20
He lives in an old apartment and spends his days cleaning public bathrooms.
43:33
He does the same things every day, and yet no two days are the same.
43:39
Yakusho Koji won the Best Actor Award at the Cannes International Film Festival for the performance.
43:49
Well, there is a reason why Koji Yakusyo's character is called Hirayama.
43:57
Hirayama was the name of the father in the central father character in "Tokyo Monogatari."
44:06
And in honor of that fabulous beautiful memorable character,
44:14
one of the most beautiful characters in the whole history of Cinema
44:18
because "Tokyo Monogatari" in many lists of best movies of the world is still number one movie.
44:24
So Hirayama is a very important character in films history.
44:30
So we loan the name for a character.
44:33
The fact that he is called Hirayama is a big nod towards "Tokyo Mornogatari."
44:40
And I think in many ways, this character is a tribute to Ozu's films,
44:48
and to the love for simple things and to the attention to nature details.
45:04
Vietnamese-born, France-based filmmaker Tran Anh Hung
45:08
is known for films such as "The Scent of Blue Papaya" and "Norwegian Wood."
45:13
He also spoke about Ozu's influence on his work at the Tokyo International Film Festival.
45:22
From Ozu's films, we learn to
love the seasons of life.
45:27
We learn to appreciate every moment
of our age.
45:32
The acceptance of the cruelty of reality
is beautiful.
45:38
That's the reason why I love his films so much.
45:42
He captures this acceptance of the life cycle
so tenderly.
45:48
What I get from Ozu is
this vague sense of human existence...
45:54
which I like to capture in my films.
45:58
Tran Anh Hung's newest film is set in France at the end of the 19th century.
46:04
It portrays the romance between a gourmet and a chef.
46:08
The relationship is based on their shared passion for food.
46:14
What are in the autumn of our lives?
46:18
That's just you.
46:21
I'm in the mid-summer.
46:24
I bet I'll die in summer, too.
46:28
I love summer.
46:29
Many filmmakers hold Ozu in high esteem
because...
46:38
he succeeded in rendering something
very profound in a uniquely cinematic manner.
46:47
He simplified many things
to show the depths of the human soul.
46:55
Ozu is extraordinary in that regard.
47:03
120 years since Ozu was born.
47:07
And 60 years since his death.
47:18
How would he perceive the world today?
47:29
The entire character of the family is changing,
47:34
and we have families today of two fathers or two mothers.
47:40
And there are the whole role models of fathers and mothers are changing.
47:50
And children are...
47:54
living... growing up into a world that is really so much more dangerous than Ozu ever depicted.
48:02
To now sixty years later, if he was still working, I think he would show very different families.
48:10
He would show families in trouble.
48:13
He would show children in trouble.
48:15
He would show very different children today because he was always truthful.
48:22
Truth is the biggest thing written in capital letters about his characters.
