The elements of Yasujiro Ozu's famously minimalist mature style can be itemized in just a few phrases: camera placed three feet above the floor, eye-height of someone seated on a tatami mat; simple cuts, not fades or dissolves; static shots sans tracking or pans. But no laundry list of techniques can capture the essence of Ozu (1903–1963). In the subtle grace with which he tells the simplest of stories-the quiet fracturing of ordinary middle-class families, grown children marrying and leaving home (or not), parents confronting the hard wisdom of age-there remains something ineffable. Ozu's was an art of showing rather than telling, meant not to be described but to be seen.
This major centenary retrospective is a chance to experience on the big screen the formal precision and emotional force of mid-century classics like Late Spring, Early Summer, and Tokyo Story, and also the delights of Ozu before the “Ozu style.” For this filmmaker so often called the “most Japanese of directors” began as a young man in the late 1920s and 1930s enthralled with American films, making forays with a freewheeling camera into crime melodrama, social realism, and college comedy. As filmmaker Nathaniel Dorsky wrote, “What is extraordinary here is the opportunity to witness the magical leap into being of Ozu's radical film form....From what had been good-hearted, witty, socially perceptive storytelling, Ozu's art transmutes into a totality of expression where the cinema itself is the story, the heart, and the philosophy.”
Juliet Clark