Yasujiro Ozu

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artfilmfan · #26 Post by **artfilmfan** » Sun Dec 12, 2004 1:06 am

I've just finished watching the Tartan DVD of "Late Spring" (from The Noriko Trilogy boxset). Here are my first (non-professional) impressions:

Subtitles: Removable, more complete (and hence better?) than the New Yorker VHS release.

Picture quality: Overall, it looks very nice. However, I noticed some distractions: (1) "ghosting" problem with fast moving objects (such as people walking across the screen, resulting in quirky movement); (2) in the sequence following the scene in which Noriko confronted her father about him re-marrying, the picture (of the entire screen) pulsates. I think there is some contrast boosting because the bright scenes seem brighter and the dark scenes seem darker than the Shochiku release (not a distraction, but it's one of the things that I noticed). I wonder if anyone else noticed these things that I mentioned above about the picture quality.

Michael Kerpan · #27 Post by **Michael Kerpan** » Sun Dec 12, 2004 8:23 am

Thanks for the report.

I think I'll probably just wait for Criterion.

Has anyone ever given a full report on the completeness of the subs on the Panorama DVD?

artfilmfan · #28 Post by **artfilmfan** » Sun Dec 12, 2004 10:57 am

Although the subtitles on the Tartan "Late Spring" are more complete, for some strange reason, in some scenes, they don't come across as being very "conversational" (for the lack of a better world). What I mean by this is that in a real conversation, people tend to not speak the complete sentences as these subtitles tell us. Furthermore, the more complete (and longer) sentences do require more time to read. It's just a personal preference, but I do prefer the subtitles on the New Yorker video over the Tartan's. (Note: One of the things that these Tartan subtitles reveal is that Noriko is 27 years old.)

IMO, the subtitles on the Panaroma "Late Spring" are more or less the same as those of the New Yorker VHS. In fact, I "almost thought" that they were copied from the New Yorker. I only noticed one distracting grammatical error on the Panaroma subtitles: during the conversation between Noriko and her father at the end of their trip to Kyoto, Noriko was telling her father that "My greatest happiness is being with you" (or something like that); the Panaroma subtitles say "I'm greatest happiness is ..."

And I mentioned this before, I think the subtitles on the New Yorker are almost as good as those on the print that I saw during the Ozu retrospective. I've watched the New Yorker video many times; therefore, my opinion is a little biased (I think).

If you just want "Late Spring" on DVD with English subtitles for now, I recommend getting the Panorama disc (only $12.99 at YesAsia).

Michael Kerpan · #29 Post by **Michael Kerpan** » Sun Dec 12, 2004 12:20 pm

I was a bit disappointed with the new print's subtitles -- precisely because they were NOT more complete than those on the New Yorker video. As I recall, none of the Noh performance is subtitled -- and a few other bits are missed. I hope Criterion fills in any gaps when it tackles the DVD version.

I agree the New Yorker video should not to be snubbed, however -- as it was by far their best Ozu video.

One reason I am glad that I have learned some Japanese is that I can handle short conversational sentence fragments on my own -- without needing to pay attention to the subtitles. ;~}

artfilmfan · #30 Post by **artfilmfan** » Sun Dec 12, 2004 7:41 pm

The Noh performance is not subtitled on the Tartan release, either. Be careful what you wish for. Too much subtitle is not always good. I felt that on the Tartan release, the more complete subtitles are helpful sometimes. But, at some other times, they aren't (because I have to spend more time reading without gaining additional useful information).

Nick Wrigley of ozuyasujiro.com, who wrote the booklet included in the Tartan boxset, in part stated this in his discussion of the scene at the Noh theater: "In relation to this pivotal scene, Donald Richie notes, "By entwining his three characters with the Noh itself he [Ozu] transforms their concerns. Noh is about things more important than getting married- it is about things like dying, like the after-life.""

I'm not sure if I want the Noh performance subtitled, as it (the extended performance) is already very depressing.

And for those who want to compare the Tartan and the Shochiku releases to investigate the possible contrast boosting (on the Tartan), look at the very last scene of the film (the scene with the waves crushing the shores). The scene on the Tartan is much darker.

Steven H · #31 Post by **Steven H** » Sun Dec 12, 2004 10:29 pm

When watching a film in a foreign language I want to understand as much dialogue as possible that the original foreign audience, that the director expected it to be viewed by, understood.

artfilmfan · #32 Post by **artfilmfan** » Mon Dec 13, 2004 9:08 pm

I may have overdone it with the discussion of the subtitles. I think I've been so used to the New Yorker video and have known the story of the film (LS) very well such that a little additional reading has become "hard work". Lazy me!

I do not want to take anything away from the Tartan subtitles though, because they are indeed more complete and very good.

But it's those things about the picture quality of the Tartan "Late Spring" that are the real disappointment.

After this Tartan release, I will have to think very hard about buying anymore European releases of Ozu's films. The AE "Floating Weeds" was flawed (good thing I didn't buy it), the transfer of French/Arte box set wasn't good, and now this.

King of Kong · #33 Post by **King of Kong** » Sat Dec 18, 2004 7:10 am

So, for those people who have seen the films in Tartan's Ozu boxset, how does the packaging/transfers, etc compare with the Criterion editions of the films (Tokyo Story, Early Summer)?

DVDTimes gives quite an enthusiastic review. I don't know what to make of it...

Michael Kerpan · #34 Post by **Michael Kerpan** » Sat Dec 18, 2004 12:56 pm

DVD Times wrote:This might not be a popular opinion, particularly with Criterion aficionados (and I include myself among that number), but the print quality is the least important element with these films. Just as no amount of commentary can increase the enjoyment of Tokyo Story, so too a pristine print wouldn't improve the film one iota.

I don't agree. While I have greatly enjoyed watching Ozu films that were (once upon a time) otherwise unavailable in the form of almost unbearably low-fidelity video copies, the fact remains that visual clarity is a key element in Ozu's films. A good DVD is far better than a poor (or even mediocre) video. Moreover, attending the screening of a good print blows away watching even an excellent DVD.

While one should not let less than optimal conditions deter one from appreciating Ozu's work (especially since much of his work exists only in very sub-optimal form -- and the situation is not likely to improve), one should not lightly set aside the opportunity to see his work under the best available circumstances.

Pinback · #35 Post by **Pinback** » Sat Dec 18, 2004 11:36 pm

Michael Kerpan wrote:I don't agree. While I have greatly enjoyed watching Ozu films that were (once upon a time) otherwise unavailable in the form of almost unbearably low-fidelity video copies, the fact remains that visual clarity is a key element in Ozu's films. A good DVD is far better than a poor (or even mediocre) video. Moreover, attending the screening of a good print blows away watching even an excellent DVD.

While one should not let less than optimal conditions deter one from appreciating Ozu's work (especially since much of his work exists only in very sub-optimal form -- and the situation is not likely to improve), one should not lightly set aside the opportunity to see his work under the best available circumstances.

I totally agree. I first saw Tokyo Story on the UK Artificial Eye VHS. The image was very poor, and the subtitles were appalling...really sparse (I'd say less than two thirds of the dialogue was actually translated). Though I enjoyed the film, I wasn't as impressed as I expected to be. I bought the Criterion disc as soon as it came out, and watched a totally different film. The sharp image and improved subtitles made a huge difference. I think it's incredibly important to watch films under the best possible circumstances; often the beauty of a film really won't be reflected in a version presented with little care and respect.

Michael Kerpan · #36 Post by **Michael Kerpan** » Sun Dec 19, 2004 12:30 pm

My wife -- even more than myself -- thought that actually seeing Ozu on the screen was far more impressive than watching him on DVD (much less on video). Given the nature of Ozu's films, one wouldn't THINK maximum clarity would make so much difference -- but it definitely does. I haven't quite figured out WHY yet.

Jun-Dai · #37 Post by **Jun-Dai** » Sun Dec 19, 2004 2:47 pm

For me, it's not about the clarity, it's about watching Ozu's films in a theater full of other people who are also enjoying his films immensely. After the curtains closed on Banshun and the lights came on, I looked around and could see a number of people quietly crying, which moved me as much as the film itself.

Another quality of the theater-going experience is that my attention is necessarily focused on the film. For a film that isn't very quickly paced, I often have a harder time keeping my attention directed towards it when watching it at home, but in the theater there is nothing else to distract me, and it's much harder to fall asleep (this isn't to say that I'm incapable of it :)). This too aids my enjoyment of Ozu's films, at least during initial experience of them. This is even more critical for me when watching something like Tarkovsky. For something like Solaris or Andre Rublev, I have to watch the film a few times on dvd before I feel like I've really seen the whole thing, whereas one experience in the theater is enough to give me confidence in the idea that I have an understanding of the film as a whole, even if it is limited somewhat.

Compared to these two things, I think the picture quality is actually somewhat secondary, though it's definitely much nicer to see all the detail in the tatami mats and people's faces, especially because you don't generally see many close-ups in his films--mostly medium shots and full shots (you don' know what Setsuko Harat really looks like until you've seen her on 35mm. She's got quite an unusual face).

artfilmfan · #38 Post by **artfilmfan** » Mon Dec 20, 2004 4:26 pm

The DVDTimes review of Tartan's Noriko Trilogy boxset has this to say about the transfer:

Video: There is a certain consistency to the tone of the transfer in all three black and white films. The heavy scratching during the opening titles of Late Spring gives no indication of the clarity of the actual transfer of the film itself, with its beautifully balanced tones, solid blacks and terrific shadow detail. There is a hint of softness and some motion blur, which is usually an indication of an NTSC to PAL transfer and that seems to be the case here. Since movement is something we don't see a great deal of in Ozu films anyway, this doesn't cause many problems, but movements can seem a bit jerky on occasions. The softness is greater issue Ã¢â‚¬â€œ the image looking fabulously clear in medium shots, but looking almost blurred in wider shots. Marks and damage are evident now and again and a tramline scratch or two, but the film looks to have been superbly restored. There are one or two skips in frames, but the most noticeable issue is some very jerky telecine wobble for one reel, just after the central Noh theatre scene. The film returns to its normal stability after this.

I guess they, too, noticed the "jerky" movements and "some very jerky telecine wobble". But they didn't mention "ghosting".

For those who might want to verify the "ghosting" problem, the best place to check is the scene in which Noriko returns home from the tea ceremony. As she enters the gate to her house, I noticed as if "something" was following her (I had never seen this on any of the previous versions). I then backed up the scene, let it plays, and when Noriko partially enters the gate, I pressed the "pause" button. I then used the frame advancing button on the remote control. As I did that, I noticed three or four images of the "ghost".

Are these distractions enough to lessen the enjoyment of the film? A little bit, I think. But are they enough to be disappointed about? Certainly "YES"! (especially considering that the only reason I bought this Tartan boxset was to get a good DVD release of this film (Late Spring)).

Michael Kerpan wrote:My wife -- even more than myself -- thought that actually seeing Ozu on the screen was far more impressive than watching him on DVD (much less on video). Given the nature of Ozu's films, one wouldn't THINK maximum clarity would make so much difference -- but it definitely does. I haven't quite figured out WHY yet.

When seen with maximum clarity, especially on a large screen and in an auditorium/theater, I think Ozu's films feel more "transcendental" (I think I know what "transcendental" means

) I don't think seeing them on a TV screen at home can do proper justice to Ozu's films, especially "Late Spring" and "An Inn in Tokyo".

Michael Kerpan · #39 Post by **Michael Kerpan** » Tue Dec 21, 2004 9:58 am

I am not a big fan of the "transcendental" paradigm for Ozu. ;~}

I would say that theatrical viewings make Ozu's films more palpable.

acquarello · #40 Post by **acquarello** » Tue Dec 21, 2004 12:53 pm

I think the theatrical perspective "phenomenon" (for lack of a better term) goes back to Tadao Sato's comment on proportionality of characters in Ozu's films and, as an extension of that, the proportionality of the characters with respect to the audience. I haven't gone out with a measuring tape, but I suspect that the golden mean doesn't just apply to the low angle framing, but the audience to projected character size as well.

artfilmfan · #41 Post by **artfilmfan** » Tue Dec 21, 2004 9:11 pm

I agree with what MEK and acquarello said above. It's hard to put into words, but I did feel more "identified with" the characters in Ozu's films when watching them projected onto the screen in an auditorium.

And the clarity of the image really makes the films more enjoyable. (I'm sure aquarello learned this first hand, as evidenced by his "daily report" from the NYFF (?) posted at ozuyasujiro.com, when he said he noticed in "Late Spring" the twitching on Chishu Ryu's face when he lies to Noriko about his re-marrying.)

I'll have to find another adjective to describe Ozu's films. So far, MEK doesn't like "sacred" and "transcendental". Meanwhile, let's just say that Setsuko Hara's smile looks even better on the big screen. I'm almost sure that he'll like hearing that.

Michael Kerpan · #42 Post by **Michael Kerpan** » Wed Dec 22, 2004 12:34 am

artfilmfan wrote:let's just say that Setsuko Hara's smile looks even better on the big screen. I'm almost sure that he'll like hearing that

He shoots. He scores. ;~}

I think some of Hara's loveliest smiles, however, are in Naruse's "Mususme tsuma haha". And her timid half-smiles in Yamanaka's "Kochiyama soshun" are also worthy of special note.

It is indeed a marvel watching Chishu Ryu mislead Hara on the big screen in "Late Spring".

artfilmfan · #43 Post by **artfilmfan** » Wed Dec 22, 2004 11:00 pm

Michael Kerpan wrote:I think some of Hara's loveliest smiles, however, are in Naruse's "Mususme tsuma haha". And her timid half-smiles in Yamanaka's "Kochiyama soshun" are also worthy of special note.

I have only seen Setsuko Hara in Ozu's films. Therefore, I'll just have to imagine those loveliest smiles of hers for now.

I have just received the Mei Ah DVD of "No Regrets for Our Youth". I checked it briefly and it appeared that this DVD has serious "ghosting" problem. My head started to spin after watching about 1 minute of it.

A "Setsuko Hara" search at YesAsia.com yields, among others, a Japanese DVD with a cover showing several people on a hill with their bicycles. I think it doesn't have English subtitles, but I wonder what the name of the movie is and who directed it.

Michael Kerpan · #44 Post by **Michael Kerpan** » Wed Dec 22, 2004 11:15 pm

The ghosting in the Mei Ah "No Regrets" DVD is less bothersome after the first few scenes (which involve more rapid movements). The Sinicization of all the names is another "treat". Despite all this (and the broken-backed nature of the script), Hara's performance is still quite wonderful. She doesn't really do any smiling I can recall in her other Kurosawa role -- in "Idiot" (which has IMHO one of Mifune's most impressive performances -- as well as Hara's own unnerving one as the anti-heroine).

Nikkatsu put out a box set with Yamanaka's "Kochiyama soshun" and "Million Ryo Pot" -- too bad no subtitles -- but otherwise an excellent set.

The bicycle scene on the cover DVD is Tadashi Imai's "Aoi sanmyaku / Blue (or Green) Mountains (1949) . Here, Hara is a progressive-minded school teacher who runs into some trouble with the conservative male leaders of the village in which she works. No subs -- and it can get pretty talky. Not exactly an Ozu or Naruse-level film -- but a fascinating historical and sociological document.

artfilmfan · #45 Post by **artfilmfan** » Thu Dec 23, 2004 12:05 am

Setsuko Hara would be very proud to know that she has a fan like you who's so knowledgeable about her work.

Thanks for the info.

Michael Kerpan · #46 Post by **Michael Kerpan** » Thu Dec 23, 2004 1:05 am

....no longer exists. No she's not dead yet (as far as I know), but she reverted to her birth name (Masae Aida) in the mid-60s and cut all ties to her cinematic past (and to everyone she knew from that past). She didn't turn into any sort of hermit, but she has just been an ordinary (reasonably well-off) lady living in Tokyo ever since then.

In any event, Masae Aida has no use for fans of any sort. ;~}

In any event, I also dote on the late Kinuyo Tanaka -- and just heard/saw her in the first Japanese sound film, Gosho's "Madamu to nyobo" (1931). Superb use of sound, considering it was a first. Tanaka didn't sound anything like what Mizoguchi fans are used to -- she got to be a bit whiny and petulant in her comic role here.

artfilmfan · #47 Post by **artfilmfan** » Thu Dec 23, 2004 10:18 am

Masae Aida may have no use for fans of any sort, but Setsuko Hara does

Kinuyo Tanaka is (was?) one of those actors/actresses who amaze me. Whether she was a young woman or an older woman, she kept turning in wonderful performances.

Michael Kerpan · #48 Post by **Michael Kerpan** » Thu Dec 23, 2004 10:31 am

I wonder if Masae Aida saw Setsuko Hara as, in essence, a role -- which, in turn, involved playing yet other roles?

What is amazing with Aida/Hara is that no one in Japan is willing to touch her "biography" with a ten-foot pole, at least not while she remains alive. Can you imagine American writers having such universal reticence towards a former pop culture icon?

artfilmfan · #49 Post by **artfilmfan** » Thu Dec 23, 2004 10:43 am

The Japanese are very respectful people. I would think that any publishing house that dares to publish a biography of Aida/Hara while she's alive will get loads of public resentment and, in turn, will probably suffer a great deal financially (as a punishment from the public for being such dis-respectful).

htdm · #50 Post by **htdm** » Thu Dec 23, 2004 9:01 pm

I remember several years ago a not-so-respectful photographer from one of the leading Japanese scandal sheets (Friday? Focus? Spa?) managed to take a very unflattering picture of Hara and published it without her permission and against her (very strong) protests with a facetious caption like "eien no shojo?" (referring to her nickname in Japan as the "eternal young woman")

After her retirement, Hara went to great lengths to maintain her privacy and stay out of the public eye never marrying or allowing any photographs of her to be published precisely not to destroy her former image as the "eternal young woman."

The overall reaction to the picture as I remember it was one of sympathy and disinterest. For those who remembered her, the sight of her appearing slightly bent over and noticeably wrinkled was sad. For my mother, the fact that the photographer obviously trespassed to get a photo of her at home was only further proof of how much Japan had become like America. But I would say most people in Japan under 50 do not even know who she is.