Ozu's most visually beautiful film - a masterpiece

Setsuko Hara, Mariko Okada, Keiji Sada, and Yôko Tsukasa in Late Autumn (1960)

Setsuko Hara and Chishû Ryû in Late Spring (1949)

Setsuko Hara and Chishû Ryû in Tokyo Story (1953)

If Japan had won the war, how would things be?

More whiskey! Bring us the whole bottle. If we'd won, we'd both be in New York now. New York. And not just a pachinko parlor called New York. The real thing!

Absolutely. Because we lost, our kids dance around and shake their rumps to American records. But if we had won, the blue-eyed ones would have chignon hairdos and chew gum while plunking tunes on the shamisen.

You think? Yeah, maybe you're right. The dumb militarists can't bully us anymore.

Shima Iwashita, Mariko Okada, Chishû Ryû, and Keiji Sada in An Autumn Afternoon (1962)

Shima Iwashita in An Autumn Afternoon (1962)

Chishû Ryû and Keiji Sada in An Autumn Afternoon (1962)

Shin'ichirô Mikami and Chishû Ryû in An Autumn Afternoon (1962)

Keiji Sada and Teruo Yoshida in An Autumn Afternoon (1962)

Chishû Ryû

Shima Iwashita

Keiji Sada

Kôgo Noda

Yasujirô Ozu

An aging widower arranges a marriage for his only daughter.

Sanma no aji

Ozu&apos;s most visually beautiful film - a masterpiece

Ozu&apos;s final film is his most visually beautiful, and among his most somber. Aside from &quot;Tokyo Story,&quot; &quot;Late Spring&quot; and &quot;A Story of Floating Weeds,&quot; this is my favorite Ozu film. There are several stories at work in this movie, but the primary involves a middle-aged father whose adult daughter is reluctant to marry. Long detached from her, the father realizes, only too late, that with her departure, goes the happiest chapter of his life. Ozu&apos;s style is extremely refined at this point, and &quot;An Autumn Afternoon&quot; shows the director at the height of his artistic prowess. As such, this movie is a terrific introduction to Ozu, and it is a rewarding farewell for fans. Visually speaking, this one is a stunner, and every frame of the movie is a stand-alone composition. Many of the Ozu stock company make appearances, including Chishu Ryu and Keiji Sada, as well as some new faces, such as Kyoko Kishida from &quot;Woman in the Dunes.&quot; The story is a classic Ozu meditation on family, marriage, and nostalgia, and the ending is among his most remorseful. If you appreciate Ozu or are just curious about this quiet master, &quot;An Autumn Afternoon&quot; is a great choice. This film is a serene, graceful masterpiece.

Ozu's final film is his most visually beautiful, and among his most somber. Aside from "Tokyo Story," "Late Spring" and "A Story of Floating Weeds," this is my favorite Ozu film. There are several stories at work in this movie, but the primary involves a middle-aged father whose adult daughter is reluctant to marry. Long detached from her, the father realizes, only too late, that with her departure, goes the happiest chapter of his life. Ozu's style is extremely refined at this point, and "An Autumn Afternoon" shows the director at the height of his artistic prowess. As such, this movie is a terrific introduction to Ozu, and it is a rewarding farewell for fans. Visually speaking, this one is a stunner, and every frame of the movie is a stand-alone composition. Many of the Ozu stock company make appearances, including Chishu Ryu and Keiji Sada, as well as some new faces, such as Kyoko Kishida from "Woman in the Dunes." The story is a classic Ozu meditation on family, marriage, and nostalgia, and the ending is among his most remorseful. If you appreciate Ozu or are just curious about this quiet master, "An Autumn Afternoon" is a great choice. This film is a serene, graceful masterpiece.

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