Hey everyone, I hadn't realized that this video got this many comments, so I never thought to check and answer haha Regarding some of the comments: I totally agree that Mizoguchi needs to be in that discussion. If I had more time, I'd certainly include him. This was a university project of mine that required a comparison between two artworks (hence, only two examples). Glad to hear you all liked it, and all the constructive feedback was awesome! I never thought to continue making videos like this, but your comments are definitely making me at least consider it.
Thank you for this video! I agree that Mizoguchi is very important to Japanese cinema, however, your video is called "Two Faces of Japanese Cinema", not "THE Two Faces of Japanese Cinema". And with respect to you considering making more of these videos, either about Japanese cinema just cinema in general, I give you my support!
"Mizoguchi's greatness was that he would do anything to heighten the reality of every scene. He never made compromises… Of all Japanese directors, I have the greatest respect for him... With the death of Mizoguchi, Japanese film has lost its truest creator." - Akira Kurosawa
Yeah he is usually considered the third great master. After that you have Naruse and Miyazaki and plenty of other masters. I love Foreign cinema, especially Japanese cinema. Still, Ozu is my favorite for the calm he brings me. He puts me in a meditative state.
There are a lot of good ideas in this brilliantly edited video. The notion that the opposition between Kurosawa and Ozu is not between "Western" Kurosawa and "Japanese" Ozu, but rather between two kinds of "Japaneseness" is a view I endorse. One cavil: the author of this video claims that Kurosawa was not concerned with the individual and that Ozu was. For me, the opposite is closer to the truth. Kurosawa says explicitly in his autobiography that, after the war, he wanted to make films that asserted the value of the individual. Whereas Ozu, though he filmed stories about Japanese people of all ages and classes, invariably perceives and displays them as part of the larger unit of the family, and their actions and sufferings only make sense in that context, not as individuals per se. But otherwise, the Otoko vs. Onna dichotomy that the author presents here makes sense. I also thought the bibliography at the end was a nice (and useful) touch.
This is a great, informative video of two master filmmakers! As a former film student and now a working filmmaker, it's awesome to be reminded - through videos like yours - why we love film! Thanks a lot for that! :)
SO beautiful. It took me four nights to watch. I looked at some scenes or dialogue lines multiple times. As Ronald Richie wrote (paraphrasing): American films are about action, European films are about character, Japanese films are about ATMOSPHERE. It is certainly true of this masterpiece.
I am an admirer of Ozu's films, Late Spring and Floating Weeds, being my favorites. I have never watched an original Kurosawa film and now it is time to explore his work.
Masaki Kobayashi is right up there also, and I would argue he is even more important than the two of these as his best movies combine the drive and moral questions of both directors.
What makes the two artists absolutely identical is the magic hug which softly surrounds the wiewer makeing him/her aware of it just when "the end" appears on the screen.
Thank you, thank you. I have for years observed the masculine vs. feminine approaches of Kurosawa and Ozu and also seen it in relation to Western art and literature, as with Melville's _Moby Dick_ of action packed adventure upon the grand quest of conquering the ultimate truth vs. Jane Austin's _Pride and Prejudice_ (and other novels) with a Fitzwilliam Darcy character and the eligible daughter Elizabeth available for marriage, with all the action transpiring within the drawing room, yet a world of action and insight into the human condition occurs and unfolds on those pages.
Very good scholarship. I'm glad you covered the "non-Japanese-ness" of Kurosawa and the humility (floor POV) and transience ("aware") of Ozu. Very good post! Thank you!
Everyone whining that the video isn't an exhaustive history of all great Japanese directors. Ozu and Kurosawa really are the two greatest Japanese filmmakers. They're also polar opposites within the context of Japanese cinema, so it is worthwhile and good to compare them in particular.
Valeu, Zé Ninguém! Brasileiro? I made this video for a class, and wasn't planning on doing any more, but comments like this really motivate me to give it a shot. Thank you so much.
However, for instance in Tokyo Story wabi-sabi is not exactly about the ephemeral in life in the Western sense of "memento mori" but instead about the fact that growing of life and decaying of life belong together as an eternally continuing circle of life and in that sense the gift of the mother's watch to the daughter in law with the wish to her to forget about her late husband and marry anew means the continuum of life and not the end of it;
I used to like Kurosawa but did not understand why Ozu was considered one of the greats. Now I still like Kurosawa, but I definitely find Ozu more appealing. Ozu is just someone that you appreciate more as you grow older and realize that there are not many like him.
3:30 "Kurosawa 'the least Japanese of Japanese film directors.' This makes me chuckle. When I was in college there was (allegedly) a Donald Ritchie quote: "Kurosawa was the most Japanese of Japanese film directors." A college professors said this more than a few times. Any of us who'd seen even one Ozu movie knew this couldn't possibly be the case and just figured that it was a simple mistake that got repeated by a lot of people who didn't know better . Kurosawa is of course Japanese, but he's also more universal. Keep in mind that in his youth, Kurosawa considered himself to be a Marxist, so he set out to express the universal condition of humans. I laughed when I read the non-Chinese scriptwriter of Crouching Tiger Hidden Dragon saying that asking him to work on this script was like someone not an American trying to make a Western... Well, what's the best Western? Yojimbo. Sergio Leone (still not an American) proved it again. Tampopo is what you'd get if you were Japanese and said, "I'd like to make a Western in Japan,' (and it's billed as the First Noodle Western") a terrific movie, but Yojimbo went a level deeper and told a Japanese story that was also an American Western. I don't know where you got the bit about people thinking Ozu's tatami level shots aggrandizing his characters. I've not once heard this. I've always heard it explained as 1. something Japanese viewers would understand and feel respected for, but technically 2 it's about the midpoint floor to ceiling, this is the best height to show an interior while keeping the verticals straight up and down. Even when we look up from the floor in a room we don't perceive the corners of rooms converging. As a photographer after many years, somethings that don't seem to bother anyone else can be constantly annoying. So Ozu by not bothering with dissolves, camera movement, different lenses... everything matches, there are no disruptive 'effects' that are common with wide angle lenses. (Every source I can find on the web says Ozu used a 50mm lens. I remember it as a 58mm lens.) btw the 'cherry blossom festival' in Onomichi in the Tokyo Story clip. This is the end of the cherry blossoms in bloom because the shot is the petals falling off the blossoms. I think an another way to look at this subject might be to compare Japanese filmmakers with Canadian. How hard have Canadians been trying for how long to 'double' Vancouver, Toronto and Montreal as New York or other US locations? I can't think of a single Japanese film that ever attempted this.
the amount of clarity you bring to this topic is amazing ..and doing so without using cliches like "perspectives" while describing rashomon ...pls review Ikiru...
Hey, cool video. One caveat to keep in mind is that Ozu loved American films. Particularly Buster Keaton and D.W. Griffith. But he was constantly consuming western films and his visual style was informed by that. Wish you mentioned Mizoguchi as he was considered the most "Japanese" of the three. It's weird how Ozu is considered to be a textbook example of a "Japanese" director. Maybe he drew more attention to everyday mannerisms and customs that Kurosawa sometimes liked to brush by. Anyways, great job.
I appreciate your insight into these two directors, and these two films, all of which I have held close now for many, many years. Your presentation here feels like we are having a conversation, a chat between two folks intimately familiar with the subjects, who rarely sit down with anyone else who understands. Thank you. I cannot recall from memory any Ozu film that "crosses over" from onna to otoko, but I have to wonder now if maybe Kurosawa did not cross over to onna when he created Ikuru. And if we allow that, then there perhaps are others as well, especially in the earlier days?
Very interesting! One thing - I suggest you to use もの (hiragana) instead of 物 (kanji), for 物 tends to mean a solid object/thing and in this case もの can be a situation, feeling and so on. And you also can write もののあはれ, too, which is the old way of spelling but still popular and used.
It seems unfair to talk about how Japanese cinema was without analyzing Kenji Mizoguchi. After all, he is known as the most "Japanese" filmmaker of the 3. Still, great video
Pran97 Yes, indeed. But the maker of this documentary isn’t pretending that his purpose is to talk about Japanese cinema alone, but to compare & contrast Kurasawa & Ozu. There should be documentaries about the great Mizoguchi. I saw a v good one recently,
Sad and transient beauty. Yet a fulness in emergent moments Ineffable challenge of understanding the human heart through individual characters Feminine and Masculine stories: Interweaving of private affairs and public stage of action Personal and cultural imperfection in life yet a universal message at once
“Maybe exist some different in relation with me (Kurosawa) and Mizoguchi, for example his main characters are women’s, and the world that he describe its the world of the woman’s, the businessman, the middle class, etc. The woman’s are not my speciality”. Kurosawa in a interview with Donald Ritchie 1960
I liked your video, although I only learnt about Tokyo Story from you having only seen Rashomon. Thank you. I am pondering on whether to watch Tokyo Story or not.
as many others have pointed out, the japanese golden age of cinema has at least two other (although less prolific but still) super important directors: kenji mizoguchi and masaki kobayashi
Really enjoyed this. I haven't checked out Ozu's work at all and only just heard of him yesterday. Looks like his work isn't available for streaming anywhere but it does seem like a lot of his movies have been uploaded to TH-cam so I'll have to check them out.
I don't think I agree with your take on the low angle of the Ozu shots because the camera is too low even for a sitting perspective. Perhaps Ozu is trying to give the shot a stage-like quality.
Interesting thesis--but if one chooses Ikiru rather than Rashomon is the distinction as clear? I don't know Ozu's work very well, so cannot comment on that side of it.
I disagree that "Tokyo Story" is a "japanese story", it's an universal story that happens everywhere. The title, "Tokyo Story" may even serve as a hint of this. The city, the modern, the changing, the passage of time, and it relation to the family and generations of parent and child. A story as old as time, I remember that there was hints of that even on the Epic of Gilgamesh! The way in which Ozu films may be "japanese", the things and images and emotions that he gives priority, but the story itself, not.
so far a director's movie is made by his own nature, his choices are simply natural. It wouldn't make sense trying to imitate other directors just because they did great movies. they did great movies because they were themselves, as any other director should just be himself
![Tanizaki Junichiro on Japanese Aesthetics [4K UHD] - In Praise of Shadows](http://i.ytimg.com/vi/C42INHwTfDM/mqdefault.jpg)
Hey everyone, I hadn't realized that this video got this many comments, so I never thought to check and answer haha
Regarding some of the comments: I totally agree that Mizoguchi needs to be in that discussion. If I had more time, I'd certainly include him. This was a university project of mine that required a comparison between two artworks (hence, only two examples).
Glad to hear you all liked it, and all the constructive feedback was awesome! I never thought to continue making videos like this, but your comments are definitely making me at least consider it.
Thank you for this video! I agree that Mizoguchi is very important to Japanese cinema, however, your video is called "Two Faces of Japanese Cinema", not "THE Two Faces of Japanese Cinema". And with respect to you considering making more of these videos, either about Japanese cinema just cinema in general, I give you my support!
Excellent work! Keep it up..
Yeah OLD Japanese cinema.
TRUE Japanese cinema is IMAMURA and ITAMI
Just seeing these last shots from Tokyo Story makes my eye water. What a beautiful beautiful cinematic masterpiece.
"Mizoguchi's greatness was that he would do anything to heighten the reality of every scene. He never made compromises… Of all Japanese directors, I have the greatest respect for him... With the death of Mizoguchi, Japanese film has lost its truest creator." - Akira Kurosawa
Yeah he is usually considered the third great master. After that you have Naruse and Miyazaki and plenty of other masters. I love Foreign cinema, especially Japanese cinema. Still, Ozu is my favorite for the calm he brings me. He puts me in a meditative state.
There are a lot of good ideas in this brilliantly edited video. The notion that the opposition between Kurosawa and Ozu is not between "Western" Kurosawa and "Japanese" Ozu, but rather between two kinds of "Japaneseness" is a view I endorse. One cavil: the author of this video claims that Kurosawa was not concerned with the individual and that Ozu was. For me, the opposite is closer to the truth. Kurosawa says explicitly in his autobiography that, after the war, he wanted to make films that asserted the value of the individual. Whereas Ozu, though he filmed stories about Japanese people of all ages and classes, invariably perceives and displays them as part of the larger unit of the family, and their actions and sufferings only make sense in that context, not as individuals per se. But otherwise, the Otoko vs. Onna dichotomy that the author presents here makes sense. I also thought the bibliography at the end was a nice (and useful) touch.
heinrichvon Absolutely. Altho’ I would add that we get to know & care about each character in Ozu’s films as well.
I've watched several of the "greatest" Japanese films but for me none beats The Human Condition.
Kino kobayashi and nakadai
Thank you!
@@mcedizulu5311 What for?
@@graybow2255 no one talks about that movie enough, or about Kobayashi.
Yes, The Human Condition is simply magnificent. My personal favourite film.
This is a great, informative video of two master filmmakers! As a former film student and now a working filmmaker, it's awesome to be reminded - through videos like yours - why we love film! Thanks a lot for that! :)
Thank You!
For this beautiful docu on these two masters ..
Outstanding analysis of a very old debate. Deserves a lot more views.
Kurosawa is the best director of all time. It saddens me that not many people know his name nowadays. Ozu is amazing as well, I loved Tokyo Story
Ghost of Tsushima helped introduce his name to a new audience in an homage to his style.
@@matty6878yeah but who other than Kurosawa fans actually used the Kurosawa filter?
@@Drums_of_Liberationmultiple people loved the black and white mode
SO beautiful. It took me four nights to watch. I looked at some scenes or dialogue lines multiple times. As Ronald Richie wrote (paraphrasing): American films are about action, European films are about character, Japanese films are about ATMOSPHERE. It is certainly true of this masterpiece.
Nicely done! Two of film's best makers I can think of. Thank you for putting this together!
This needs far more views, good stuff.
im surprised this doesnt have a 500k-1mil already
Kudos for writing a bibliography. I've never seen a youtuber do that before and I appreciate it greatly.
Very kind and thoughtful essay. Thank you for sharing
I am an admirer of Ozu's films, Late Spring and Floating Weeds, being my favorites. I have never watched an original Kurosawa film and now it is time to explore his work.
Excellent! Thank you.
All along, I was so moved not only by the movies (spevially Ozu's) but for your caring analyssis. Subbed
Fantastic study on this, enlightened many unspoken thoughts I had about these filmmakers
Beautifully and powerfully crafted!! Thank you so much!!
I really wish you'd continue making videos like this! Very interesting comparison between these two giants of cinema...
Thanks so much for making & sharing this video. It's insightful. Those are beautiful movies (and directors).
Well Done, Dimitri. I was mesmerized not just with the visuals of the masters, but also with your great analysis... make more such videos!!!
I like this. Thank you for your posting. But there's so much mercy in Rashomon, unmentionable mercies, and judgements too.
Akira Kurosawa was a real master, but i actually think Ozu is the greatest Japanese director of alle time. Mizoguchi is great too.
Jakob Kristensen Don't forget Teshigara and Kobayashi.
And Kenji Mizoguchi?!!!!!!!!
He is so great as Ozu and Kurosawa.
Masaki Kobayashi is right up there also, and I would argue he is even more important than the two of these as his best movies combine the drive and moral questions of both directors.
He’s better than both and that says so much
especially his Harakiri, a masterpiece.
Mikio Naruse should also be in the conversation, as well as Mizoguchi and Kobayashi
What makes the two artists absolutely identical is the magic hug which softly surrounds the wiewer makeing him/her aware of it just when "the end" appears on the screen.
Thank you, thank you. I have for years observed the masculine vs. feminine approaches of Kurosawa and Ozu and also seen it in relation to Western art and literature, as with Melville's _Moby Dick_ of action packed adventure upon the grand quest of conquering the ultimate truth vs. Jane Austin's _Pride and Prejudice_ (and other novels) with a Fitzwilliam Darcy character and the eligible daughter Elizabeth available for marriage, with all the action transpiring within the drawing room, yet a world of action and insight into the human condition occurs and unfolds on those pages.
Great video! Your take on Rashomon was especially interesting. Thanks for sharing this with us man! Keep up the good work and God bless you :)
Excellent video of appreciation and understanding of two great masters
I love Rashomon! I am greatful you picked exactly this movie! and good video in general as well
Very good scholarship. I'm glad you covered the "non-Japanese-ness" of Kurosawa and the humility (floor POV) and transience ("aware") of Ozu. Very good post! Thank you!
Everyone whining that the video isn't an exhaustive history of all great Japanese directors. Ozu and Kurosawa really are the two greatest Japanese filmmakers. They're also polar opposites within the context of Japanese cinema, so it is worthwhile and good to compare them in particular.
interesting analysis. simply amazing
Excellent analysis of the mouse-level shot. This point is ignored or not summarized well by most other people.
Outstanding essay!
Well done! Enjoyed watching very much. Thank you!
rational analyses which have various questions within curiosity that includes respectful approach.thanks mate.
*17 seconds in, subbed*
don't care if it'll take 7 months until the next 20 minute film dissection, but it'll be worth it when it gets here
Valeu, Zé Ninguém! Brasileiro? I made this video for a class, and wasn't planning on doing any more, but comments like this really motivate me to give it a shot. Thank you so much.
Escuta, Zé Ninguém!
Awesome video!! I really liked how you did a very complete research on japanese culture (: Also music and edition were beautiful
Thank you so much :))
Loved it man , please make more videos on movies.
Truly insightful. Thank you. I feel incredible after watching this video.
Really enjoyed watching this video......I am a fan of Ozu's films.....good luck for your future projects👍👏 🙂🙏
One of the best essay I ever saw ! congratulation
However, for instance in Tokyo Story wabi-sabi is not exactly about the ephemeral in life in the Western sense of "memento mori" but instead about the fact that growing of life and decaying of life belong together as an eternally continuing circle of life and in that sense the gift of the mother's watch to the daughter in law with the wish to her to forget about her late husband and marry anew means the continuum of life and not the end of it;
I used to like Kurosawa but did not understand why Ozu was considered one of the greats. Now I still like Kurosawa, but I definitely find Ozu more appealing. Ozu is just someone that you appreciate more as you grow older and realize that there are not many like him.
3:30 "Kurosawa 'the least Japanese of Japanese film directors.' This makes me chuckle. When I was in college there was (allegedly) a Donald Ritchie quote: "Kurosawa was the most Japanese of Japanese film directors." A college professors said this more than a few times. Any of us who'd seen even one Ozu movie knew this couldn't possibly be the case and just figured that it was a simple mistake that got repeated by a lot of people who didn't know better .
Kurosawa is of course Japanese, but he's also more universal. Keep in mind that in his youth, Kurosawa considered himself to be a Marxist, so he set out to express the universal condition of humans.
I laughed when I read the non-Chinese scriptwriter of Crouching Tiger Hidden Dragon saying that asking him to work on this script was like someone not an American trying to make a Western... Well, what's the best Western? Yojimbo. Sergio Leone (still not an American) proved it again. Tampopo is what you'd get if you were Japanese and said, "I'd like to make a Western in Japan,' (and it's billed as the First Noodle Western") a terrific movie, but Yojimbo went a level deeper and told a Japanese story that was also an American Western.
I don't know where you got the bit about people thinking Ozu's tatami level shots aggrandizing his characters. I've not once heard this. I've always heard it explained as 1. something Japanese viewers would understand and feel respected for, but technically 2 it's about the midpoint floor to ceiling, this is the best height to show an interior while keeping the verticals straight up and down. Even when we look up from the floor in a room we don't perceive the corners of rooms converging.
As a photographer after many years, somethings that don't seem to bother anyone else can be constantly annoying. So Ozu by not bothering with dissolves, camera movement, different lenses... everything matches, there are no disruptive 'effects' that are common with wide angle lenses.
(Every source I can find on the web says Ozu used a 50mm lens. I remember it as a 58mm lens.)
btw the 'cherry blossom festival' in Onomichi in the Tokyo Story clip. This is the end of the cherry blossoms in bloom because the shot is the petals falling off the blossoms.
I think an another way to look at this subject might be to compare Japanese filmmakers with Canadian. How hard have Canadians been trying for how long to 'double' Vancouver, Toronto and Montreal as New York or other US locations? I can't think of a single Japanese film that ever attempted this.
the amount of clarity you bring to this topic is amazing ..and doing so without using cliches like "perspectives" while describing rashomon ...pls review Ikiru...
Hey, cool video. One caveat to keep in mind is that Ozu loved American films. Particularly Buster Keaton and D.W. Griffith. But he was constantly consuming western films and his visual style was informed by that.
Wish you mentioned Mizoguchi as he was considered the most "Japanese" of the three. It's weird how Ozu is considered to be a textbook example of a "Japanese" director. Maybe he drew more attention to everyday mannerisms and customs that Kurosawa sometimes liked to brush by. Anyways, great job.
Agreed completely!
Very nicely done. Insightful and compelling.
Amazing video, love the depth of study and thought that went into this essay. Domo
Thank you for the kind words!
Splendid video! Really wants me check out Tokyo Story! Thanks a lot.
I appreciate your insight into these two directors, and these two films, all of which I have held close now for many, many years. Your presentation here feels like we are having a conversation, a chat between two folks intimately familiar with the subjects, who rarely sit down with anyone else who understands. Thank you.
I cannot recall from memory any Ozu film that "crosses over" from onna to otoko, but I have to wonder now if maybe Kurosawa did not cross over to onna when he created Ikuru. And if we allow that, then there perhaps are others as well, especially in the earlier days?
thank you for the insight. need to watch this!
Amazing presentation
Wow!!!! Good job (Y) loved your analysis. Definitely want more of this please.
Wonderful analysis. Thank you for sharing.
Very interesting! One thing - I suggest you to use もの (hiragana) instead of 物 (kanji), for 物 tends to mean a solid object/thing and in this case もの can be a situation, feeling and so on. And you also can write もののあはれ, too, which is the old way of spelling but still popular and used.
Great analysis, just great.
It seems unfair to talk about how Japanese cinema was without analyzing Kenji Mizoguchi. After all, he is known as the most "Japanese" filmmaker of the 3. Still, great video
Pran97 Yes, indeed. But the maker of this documentary isn’t pretending that his purpose is to talk about Japanese cinema alone, but to compare & contrast Kurasawa & Ozu. There should be documentaries about the great Mizoguchi. I saw a v good one recently,
I completely agree.
Nagisa Oshima and Hiroshi Teshigawara
I will add Mikio Naruse and Kaneto Shindo.
Imamura, Shinoda, Misumi, Ishii x2, Okamoto, Ichikawa, Fukasaku, Gosha, Kobayashi and Suzuki also deserve a credit.
This was very good, thank you.
Excelente análisis. Muchas gracias!
Sad and transient beauty. Yet a fulness in emergent moments
Ineffable challenge of understanding the human heart through individual characters
Feminine and Masculine stories: Interweaving of private affairs and public stage of action
Personal and cultural imperfection in life yet a universal message at once
Thank you, Dimitri!
“Maybe exist some different in relation with me (Kurosawa) and Mizoguchi, for example his main characters are women’s, and the world that he describe its the world of the woman’s, the businessman, the middle class, etc. The woman’s are not my speciality”. Kurosawa in a interview with Donald Ritchie 1960
I liked your video, although I only learnt about Tokyo Story from you having only seen Rashomon. Thank you. I am pondering on whether to watch Tokyo Story or not.
Thank you. My ignorance is slightly less monumental due to your effort.
Brilliant..
Exquisite research and conclusion
Mahalo! Great analysis and thoughts.
Wonderfully done, Thank You..
Thanks for making and sharing this, Dimitri. Greets from Argentina.
I think Seven Samurai is Kurosawa's masterpiece
I'd call Seven Samurai his magnum opus.
Thanks for this knowledgeable and interesting video!
I dig the Max Richter piece! Great vid and analysis!
Thank you for a wonderful video !
as many others have pointed out, the japanese golden age of cinema has at least two other (although less prolific but still) super important directors: kenji mizoguchi and masaki kobayashi
Thank you so much
Un placer ver tu video! Y muy buen análisis. Saludos desde Argentina!
this is not a cool video, its a intense video thanks for your efforts. loved it Akira is the best director of all times for me.
Great work my friend. Thanks for the effort
You should espend more time producing this kind of video essays, please. Please. Please. Please.
Thank you so much! :)
Really enjoyed this. I haven't checked out Ozu's work at all and only just heard of him yesterday. Looks like his work isn't available for streaming anywhere but it does seem like a lot of his movies have been uploaded to TH-cam so I'll have to check them out.
SCHMIEL SHOW if you're in college, check your schools online library, mine has a lot of his films
awesome video my dude
These two are the Senna and Prost of Japanese cinema
Why is every Japanese movie ive ever watched a banger
I don't think I agree with your take on the low angle of the Ozu shots because the camera is too low even for a sitting perspective. Perhaps Ozu is trying to give the shot a stage-like quality.
insightful article .. 10/10
Well done. Thank you.
Thank u Yuri
This is beautiful.
Fantastic video
This is great man.
Please watch the earlier movies of Kenji Mizoguchi
Excellent analysis, based on comprehensive research, intelligent reflection & sensitivity, even tho’ you are American. ☺️😉😊
Wow I liked this.
Interesting thesis--but if one chooses Ikiru rather than Rashomon is the distinction as clear? I don't know Ozu's work very well, so cannot comment on that side of it.
素晴らしい内容でした
I disagree that "Tokyo Story" is a "japanese story", it's an universal story that happens everywhere. The title, "Tokyo Story" may even serve as a hint of this. The city, the modern, the changing, the passage of time, and it relation to the family and generations of parent and child.
A story as old as time, I remember that there was hints of that even on the Epic of Gilgamesh!
The way in which Ozu films may be "japanese", the things and images and emotions that he gives priority, but the story itself, not.
so far a director's movie is made by his own nature, his choices are simply natural.
It wouldn't make sense trying to imitate other directors just because they did great movies. they did great movies because they were themselves, as any other director should just be himself
thank you!
Well said.