
Noriko is 27 years old and is still living with her father Somiya, a widower. Noriko just recovered from an illness she developed in the war, and now the important question pops up: when will Noriko start thinking about marriage? Everybody who is important in her life tries to talk her into it: her father, her aunt, a girlfriend. But Noriko doesn't want to get married, she seems extremely happy with her life. She wants to stay with her father to take care of him. After all, s... (Full plot summary below)
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Noriko is 27 years old and is still living with her father Somiya, a widower. Noriko just recovered from an illness she developed in the war, and now the important question pops up: when will Noriko start thinking about marriage? Everybody who is important in her life tries to talk her into it: her father, her aunt, a girlfriend. But Noriko doesn't want to get married, she seems extremely happy with her life. She wants to stay with her father to take care of him. After all, she knows best of his manners and peculiarities. But Noriko's aunt doesn't want to give up. She arranges a partner for her and thinks of a plan that will convince Noriko her father can be left alone.
Leave your thoughts about Late Spring.
| eye WEEKLYJason AndersonWith no one looking but the camera, Hara's face registers anger, jealousy and humiliation, all in the space of a few seconds. |
| Boulder WeeklyThomas DelapaExquisite ... What little plot there is in Late Spring is adorned by Ozu's Zen-like meditation on objects, surroundings and the Japanese concept of mono no aware -- the ineffable resignation to the reality of life as things are. |
| Combustible CelluloidJeffrey M. AndersonLate Spring is, along with Tokyo Story, Ozu's greatest work. |
| Movie MetropolisChristopher LongOzu trains his trademarked fixed camera on the deceptively simple story of a father and daughter and finds in it nothing short of the whole wide world. |
| Little White LiesAnton Bitelimpermanence... forms the film's true subject - and it is Ozu's ambivalence towards it, as though he wants both to board the train, and to stay on the platform, that ultimately gives Late Spring its bittersweet resonance. |
| Village VoiceMelissa Anderson"Movies resurrect the beautiful dead," Susan Sontag once wrote, and there's no better way to commemorate Hara than to watch her in Late Spring, a film in which she is heartbreakingly vibrant. |
| Groucho ReviewsPeter CanaveseLate Spring exemplifies Ozu's rich, mature style, an apparent stylelessness of patient, lifelike rhythms, unobtrusive camerawork, and credibly subtle performances. [DVD] |
| Q Network Film DeskJames KendrickOzu's camera is observational, rather than intrusive; even when we get something akin to a close-up, it never feels like it's invading the character's space. |
| Chicago ReaderDave KehrYasujiro Ozu's 1949 film inaugurated his majestic late period: it's here that he decisively renounces melodrama (and, indeed, most surface action of any kind) and lets his camera settle into the still, long-take contemplation. |
| Old School ReviewsJohn A. Nesbitwelcome respite from mindless, dispassionate cinema |