Record of a Tenement Gentleman
Dir: Yasujirô Ozu
1947
*****
Regarded by most as Yasujirô Ozu's most sentimental work, it's often dismissed and overlooked. It is as heart warming as it is heartbreaking, but it's certainly not as gratuitous as say a Frank Capra film, it is far more subtle. Filmed at a time when Japan was still feeling the effect of the second world war and was getting back on its feet. People had become anxious and frightened but also, as Ozu suggests, selfish and unthoughtful. It could have been mistaken for Japanese propaganda, as the west was being introduced to Asian cinema around this time but for those of you who know Yasujirô Ozu's work, you'll know that this was never the case, this was for the people of Japan, a much needed lesson in unity and also a timeless story of hope, kindness and doing what was right. I know I've made it sound like an excruciatingly wet film, it isn't, it still has plenty of humour and intelligence for it not to be too potent. It's actually a rather special film and hugely underrated. I can't recommend it enough, it's an absolute classic.

Late Spring
Dir: Yasujirô Ozu
1949
*****
Late Spring is by far my favourite of Yasujirô Ozu's Noriko trilogy, although they are all brilliant. The films captures a certain acceptance that post war Japan was going through in the late 40's early 50's, a change in traditions but not necessarily a change in values. Ozu doesn't preach though, it is what it is and what it is is a masterpiece made by one of the greatest directors of all time. Setsuko Hara is beautiful and plays Noriko perfectly, she says so much with just a slight change of expression, it's easy to see why Ozu cast her so often. Not many directors actually make a perfect film but Yasujirô Ozu made many.

Late Autumn
Dir: Yasujirô Ozu
1960
*****
1960's Late Autumn follows familiar themes of Ozu's older work; family, sacrifice, ageing etc. It all sounds dreadfully depressing on paper but Ozu's brings it to life so beautifully. Yasujirô Ozu in colour is something to behold, he didn't seem to have any trouble at all in the transition. Setsuko Hara  is wonderful as always, this time playing the mother rather than the daughter (See Late Spring). The three old men playing cupid are great fun to watch but it is the cocky and abrupt Yukiko, brilliantly played by Mariko Okada who really steals the show. Typically brilliant, typically Ozu.

Tokyo-Ga
Dir: Wim Wenders
1985
****
Tokyo-Ga is made out of love for the great director Yasujiro Ozu and raises the Question - is there anything left of his world? The simple answer is no, not really, but little reminders like the little boy at the train station who refuses to stand, reminding Wenders (and most fans I'd imagine) of many of the young characters in Ozu's films, really do make this film what it is. It's a love letter written out of the greatest respect and gratitude. Okay, it does get a little self indulgent at times, that seems to be quite typical of Wender's documentary projects but it's very moving towards the end, particularly during the emotional interview with Ozu's regular camera man. That scene alone makes it worth a watch, although you should probably see a least a couple of Ozu's classics first. It's interesting to now watch this film as a document of 1985's Tokyo, sadly even more of Ozu's world has gone but this great document is now a capsule of a time, an idea and a way of life. Two levels of nostalgia in just one film.

An Autumn Afternoon
Dir: Yasujirō Ozu
1962
*****
On the face of it, this seems like more of the same from Ozu but there is one real difference. It is far more contemplative. He's never made a film about the extraordinary but here he focuses on the mundane and suggests that even the simplest of things can give us pleasure to such a degree, it is unlike many of his other films. His mother died while filming which I think really set the mood of this film, it is also very poignant and fitting then that An Autumn Afternoon turned out to be Ozu's swan song (please please please don't let this review put you off, it is also very funny!). A wonderful end to a great career, Ozu's work continues to be extremely influential in cinema and timeless in its beauty. 

NB: Anyone else notice the Akira Kurosawa nod/tribute? In one of the exterior shots of the city, a poster for one of his films (Sanjuro I think, it is definitely a picture of Toshirô Mifune anyway)

Flavor of Green Tea over Rice
Dir: Yasujirô Ozu
1952
*****
I imagine the subject matter and the youthful approach of questioning tradition and the older generation was quite taboo in it's day. Ozu was the master of subtlety though, this was a totally different film of its day and was quite revolutionary when you think about it. Yet it passed almost unnoticed. Unfairly overshadowed by his other classics, Flavor of Green Tea over Rice is a beautiful, honest and magnificently ordinary film by Ozu. For whatever you get out of it, you wont be able to forget the wry ending that reminds us that, whilst there might not be a way of avoiding some of life's cycles, conform to a point but do so with a sense of humour.