Yasujirō Ozu

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Yasujirō Ozu
Yasujiro Ozu cropped.jpg
Born (1903-12-12)12 December 1903
Tokyo, Japan
Died 12 December 1963(1963-12-12) (aged 60)
Tokyo, Japan
Occupation Film director
Years active 1929–1963

Yasujirō Ozu (小津 安二郎 Ozu Yasujirō?, 12 December 1903 – 12 December 1963) was a Japanese film director and screenwriter. He began his career during the era of silent films. Ozu made fifty-three films: twenty-six in his first five years as a director, and all but three for the Shochiku studio. Ozu first made a number of short comedies, before turning to more serious themes in the 1930s.

Marriage and family, especially the relationships between the generations, are among the themes in his work. His outstanding works include Late Spring (1949), Early Summer (1951), Tokyo Story (1953), and Floating Weeds (1959). He made great use of ellipsis, where many events are not depicted visually, and he also used a style of cinematography in which the camera rarely moves and is usually positioned below the eye level of the actors.

His reputation has continued to grow since his death, and he is widely regarded as one of the world's most influential directors.

Biography[edit]

Early life[edit]

Ozu was born in the Fukagawa district of Tokyo, the second son of five brothers and sisters.[n 1] His father was a fertilizer seller. He attended Meiji nursery school and primary school.[1] In March 1913, at the age of ten, he and his siblings were sent by his father to live in his father's home town of Matsusaka in Mie Prefecture, where he lived until 1924.[1][2] In March 1916, at the age of 13 he entered what is now Ujiyamada High School.[n 2] He was a boarder at the school and did judo.[1] He frequently skipped school to watch films such as Quo Vadis? or The Last Days of Pompei. In 1917 he saw the film Civilization and decided that he wanted to be a film director.[3]

In 1920, at the age of 17, he was thrown out of the dormitory after being accused of writing a love letter to a good-looking boy in a lower class, and had to commute to school by train.[3]

In March 1921 he graduated from the high school. He attempted the exam for what is now Kobe University's economics department,[n 3] but failed. In 1922 he took the exam for a teacher training college,[n 4] but failed it. On 31 March 1922 he began working as a substitute teacher at a school in Mie prefecture. He is said to have travelled the long journey from the school in the mountains to watch films at the weekend. In December 1922, his family with the exception of Ozu and his sister, moved back to Tokyo to live with his father. In March 1923, when his sister graduated, he also went to Tokyo.

Entering the film business[edit]

With his uncle acting as intermediary, Ozu entered the Shochiku Film Company as an assistant in the cinematography department on 1 August 1923, against the wishes of his father.[3] His family home was destroyed in the earthquake of 1923, but no members of his family were injured.

On 12 December 1924, Ozu started a year of military service.[3][n 5] He finished his military service on 30 November 1925, leaving as a corporal.

In 1926 he became a third assistant director.[4] In 1927 he was involved in a fracas where he punched another employee for jumping a queue at the studio cafeteria, and when called to the studio director's office he used it as an opportunity to present a film script he had written.[4] In September 1927 he was promoted to director in the jidaigeki (period film) department, and directed his first film, Sword of Penitence, now lost. Ozu's story was dramatized by Kogo Noda, who would become his co-writer for the rest of his career. On 25 September he was called up to military reserves until November, and the film was partly finished by another director.[4]

In 1928, Shiro Kido, the head of the Shochiku studio, decided that the company was to concentrate on making short comedy films without star actors. Ozu made a series of these films. The film Body Beautiful, released on 1 December 1928, was the first Ozu film to use his trademark low camera position.[4] After a series of "no star" pictures, in September 1929 Ozu's first film with stars, I graduated but..., starring Minoru Takada and Kinuyo Tanaka, was released. In January 1930 he was entrusted with Shochiku's top star Sumiko Kurishima in her new year film, An Introduction to Marriage. His subsequent films of 1930 impressed Shiro Kido enough to invite Ozu on a trip to a hot spring. In his early works Ozu used the pseudonym "James Maki" for his screenwriting.[5] His film Young Miss, with an all-star cast, was the first time he used the penname James Maki,[n 6] and was also his first film to appear in film magazine Kinema Jumpo's "Best Ten" at third position.[6]

In 1932, his I Was Born, But..., a comedy with serious overtones on adolescence, was received by movie critics as the first notable work of social criticism in Japanese cinema, winning Ozu wide acclaim.[citation needed]

In 1935 Ozu made a short documentary with soundtrack: Kagami Shishi, in which Kokiguro VI performed a Kabuki dance of the same title. This was made by request of the Ministry of Education.[citation needed] Like the rest of Japan's cinema industry, Ozu was slow to switch to the production of talkies: his first film with a dialogue sound-track was The Only Son in 1936, five years after Japan's first talking film, Heinosuke Gosho's The Neighbor's Wife and Mine.

Wartime[edit]

On 9 September 1937, at a time when Shochiku was unhappy about Ozu's lack of box-office success (despite the praise and awards he received from critics), the thirty-four-year-old Ozu was conscripted into the Imperial Japanese Army. He spent two years in China in the Second Sino-Japanese War. He arrived in Shanghai on 27 September 1937 as part of an infantry regiment which handled chemical weapons.[7] He started as a corporal but was promoted to sergeant on 1 June 1938.[7] From January until September 1938 he was stationed in Nanjing, meeting Sadao Yamanaka, who was also stationed nearby. In September, Yamanaka died of illness.[7] In 1939, Ozu was dispatched to Hankou, where he fought in the Battle of Nanchang and the Battle of Xiushui River. In June, he was ordered back to Japan, arriving in Kobe in July, and his conscription ended on 16 July 1939.[7]

In 1939, he wrote the first draft of the script for The Flavor of Green Tea over Rice but shelved it due to changes insisted on by military censors.[7] The first film Ozu made on his return was the critically and commercially successful Brothers and Sisters of the Toda Family, released in 1941. He followed this with an autobiographical theme: Chichi Ariki (There Was a Father, 1942), describing the strong bonds of affection between a father and son despite years of separation.

In 1943, Ozu was again drafted into the army to make a propaganda film in Burma. However, he was sent to Singapore instead, to make a film called Deruhi e, Deruhi e (translation "To Delhi, to Delhi") with Chandra Bose.[8] During his time in Singapore, having little inclination to work, he spent an entire year reading, playing tennis, and watching American films provided by the Army information corps. He was particularly impressed by Citizen Kane.[9] He occupied a fifth-floor room facing the sea in the Cathay Building where he entertained guests, drew pictures and collected carpets. With the end of the second world war in August 1945, Ozu destroyed the script and footage shot of the film.[8] He was detained as a civilian and worked in a rubber plantation. Of his film team of 32 people, there was only space for 28 on the first repatriation boat to Japan. Ozu won a lottery giving him a place, but gave it to someone else who was anxious to return.[8][9]

Postwar[edit]

Ozu returned to Japan in February 1946, and moved back in with his mother, who had been staying with his sister in Noda in Chiba prefecture. He reported for work at the Ofuna studios on 18 February 1946. His first film released after the war was The Record of a Tenement Gentleman in 1947. Around this time, the Chigasakikan[n 7] ryokan became Ozu's favoured location for scriptwriting.

Tokyo Story was the last script written at Chigasakikan. After that, Ozu and Noda used a small house in the mountains at Tateshina in Nagano Prefecture called Unkosō[n 8] to write scripts, with Ozu staying in a nearby house called Mugeisō.[n 9][10]

Ozu's films were most favorably received from the late 1940s, with works such as Late Spring, 1949, The Flavor of Green Tea over Rice, 1952, Tokyo Story, 1953—considered to be his masterpiece—Early Spring, 1956, Equinox Flower, 1958, his first film in colour, Floating Weeds, 1959 and Late Autumn, 1960. Ozu often worked with screenwriter Kogo Noda; other regular collaborators included camera man Yuharu Atsuta and the actors Chishu Ryu, Setsuko Hara, and Haruko Sugimura.

Ozu's grave at Engaku-ji

His work was only rarely shown overseas before the 1960s. Ozu's last film was An Autumn Afternoon in 1962.

He served as president of the Directors Guild of Japan from 1955 to his death in 1963.[11]

Ozu was well known for his drinking. He and his screenwriting collaborator Kogo Noda used to measure the progression of their scripts by how many bottles of sake they had drunk. Ozu remained single throughout his life and lived with his mother until she died, less than two years before his own death.

Ozu died in 1963 of cancer on his 60th birthday. The grave he shares with his mother at Engaku-ji in Kamakura bears no name—just the character mu ("nothingness").[12]

Legacy and style[edit]

Yasujirō Ozu (far right) on location of Tokyo Story (1953)

Ozu became widely recognized internationally when his films were shown abroad.[13] Influential monographs by Donald Richie,[14] Paul Schrader,[15] and David Bordwell[16] have ensured a wide appreciation of Ozu's style, aesthetics and themes. Ozu was dubbed the tenth greatest director of all time by the BFI's Sight & Sound poll of Critics' top ten directors.[17]

Ozu is probably as well known for the technical style and innovation of his films as for the narrative content. The style of his films is most striking in his later films, a style he had not fully developed until his post-war talkies.[citation needed] He did not conform to Hollywood conventions.[18] Rather than using the typical over-the-shoulder shots in his dialogue scenes, the camera gazes on the actors directly, which has the effect of placing the viewer in the middle of the scene.[18] Ozu did not use typical transitions between scenes, either. In between scenes he would show shots of certain static objects as transitions, or use direct cuts, rather than fades or dissolves. Most often the static objects would be buildings, where the next indoor scene would take place. It was during these transitions that he would use music, which might begin at the end of one scene, progress through the static transition, and fade into the new scene. He rarely used non-diegetic music in any scenes other than in the transitions.[citation needed] Ozu moved the camera less and less as his career progressed, and ceased using tracking shots altogether in his color films.[citation needed] However, David Bordwell argues that Ozu is one of the few directors to "create a systematic alternative to Hollywood continuity cinema, but he does so by changing only a few premises."[19]

He invented the "tatami shot", in which the camera is placed at a low height, supposedly at the eye level of a person kneeling on a tatami mat.[citation needed] Actually, Ozu's camera is often even lower than that, only one or two feet off the ground. He used this low height even when there were no sitting scenes, such as when his characters walked down hallways.

Ozu eschewed the traditional rules of filmic storytelling, most notably eyelines. In his review of Floating Weeds, film critic Roger Ebert recounts

[Ozu] once had a young assistant who suggested that perhaps he should shoot conversations so that it seemed to the audience that the characters were looking at one another. Ozu agreed to a test. They shot a scene both ways, and compared them. "You see?" Ozu said. "No difference!"[20]

In narrative structure, Ozu was an innovator in his use of ellipses, in which many major events are left out, leaving only the space between them.[citation needed] For example, in An Autumn Afternoon a wedding is mentioned in one scene, and then in the next, a reference is made to the wedding that has already occurred. The wedding, however, never occurs on screen. This is typical of Ozu's films. Usually Ozu elides moments that Hollywood films use to stir an emotional reaction from the audience, thus eschewing melodrama.[citation needed]

Tributes and documentaries[edit]

In the Wim Wenders documentary film Tokyo-Ga, the director travels to Japan to explore the world of Ozu, interviewing both Chishu Ryu and Yuharu Atsuta.

In 2003, the centenary of Ozu's birth was commemorated at various film festivals around the world. Shochiku produced the film Café Lumière (珈琲時光), directed by Taiwanese filmmaker Hou Hsiao-Hsien as homage to Ozu, with direct reference to the late master's Tokyo Story (1953), to premiere on Ozu's birthday.

John Walker, former editor of Halliwell`s Film Guide, placed Tokyo Story top in a list of the best 1000 films yet made.[citation needed]

Ozu's Tokyo Story has appeared several times in the Sight & Sound poll of best films selected by critics and directors. In 2012, it topped the poll of film directors' choices of "greatest film of all time".

Filmography[edit]

Filmography of Yasujirō Ozu[21][22]
Year Japanese Title Rōmaji English Title Notes
Silent films
1927 懺悔の刃 Zange no yaiba Sword of Penitence Lost
1928 若人の夢 Wakōdo no yume Dreams of Youth Lost
女房紛失 Nyōbō funshitsu Wife Lost Lost
カボチャ Kabocha Pumpkin Lost
引越し夫婦 Hikkoshi fūfu A Couple on the Move Lost
肉体美 Nikutaibi Body Beautiful Lost
1929 宝の山 Takara no yama Treasure Mountain Lost
学生ロマンス 若き日 Gakusei romansu: wakaki hi Student Romance: Days of Youth Ozu's earliest surviving film
和製喧嘩友達 Wasei kenka tomodachi Fighting Friends Japanese Style 14 minutes survive
大学は出たけれど Daigaku wa detakeredo I Graduated, But... 10 minutes survive
会社員生活 Kaishain seikatsu The Life of an Office Worker Lost
突貫小僧 Tokkan kozō A Straightforward Boy Short film
1930 結婚学入門 Kekkongaku nyūmon An Introduction to Marriage Lost
朗かに歩め Hogaraka ni ayume Walk Cheerfully
落第はしたけれど Rakudai wa shitakeredo I Flunked, But...
その夜の妻 Sono yo no tsuma That Night's Wife
エロ神の怨霊 Erogami no onryō The Revengeful Spirit of Eros Lost
足に触った幸運 Ashi ni sawatta kōun The Luck Which Touched the Leg Lost
お嬢さん Ojōsan Young Miss Lost
1931 淑女と髭 Shukujo to hige The Lady and the Beard
美人と哀愁 Bijin to aishu Beauty's Sorrows Lost
東京の合唱 Tokyo no kōrasu Tokyo Chorus
1932 春は御婦人から Haru wa gofujin kara Spring Comes from the Ladies Lost
大人の見る繪本 生れてはみたけれど Umarete wa mita keredo I Was Born, But...
靑春の夢いまいづこ Seishun no yume ima izuko Where Now Are the Dreams of Youth?
また逢ふ日まで Mata au hi made Until the Day We Meet Again Lost
1933 東京の女 Tokyo no onna Woman of Tokyo
非常線の女 Hijōsen no onna Dragnet Girl
出来ごころ Dekigokoro Passing Fancy
1934 母を恋はずや Haha wo kowazuya A Mother Should be Loved
浮草物語 Ukigusa monogatari A Story of Floating Weeds
1935 箱入娘 Hakoiri musume An Innocent Maid Lost
東京の宿 Tokyo no yado An Inn in Tokyo
1936 大学よいとこ Daigaku yoitoko College is a Nice Place Lost
Sound, black-and-white films
1936 菊五郎の鏡獅子 Kagami jishi Kagami jishi Documentary; Ozu's first sound film
ひとり息子 Hitori musuko The Only Son
1937 淑女は何を忘れたか Shukujo wa nani wo wasureta ka What Did the Lady Forget?
1941 戸田家の兄妹 Todake no kyodai Brothers and Sisters of the Toda Family
1942 父ありき Chichi ariki There Was a Father
1947 長屋紳士録 Nagaya Shinshiroku Record of a Tenement Gentleman
1948 風の中の牝鶏 Kaze no naka no mendori A Hen in the Wind
1949 晩春 Banshun Late Spring Ozu's first film with Setsuko Hara
1950 宗方姉妹 Munekata kyōdai The Munekata Sisters
1951 麥秋 Bakushu Early Summer
1952 お茶漬けの味 Ochazuke no aji The Flavor of Green Tea over Rice Adapted from censored 1939 script
1953 東京物語 Tokyo monogatari Tokyo Story
1956 早春 Soshun Early Spring
1957 東京暮色 Tōkyō boshoku Tokyo Twilight
Colour films
1958 彼岸花 Higanbana Equinox Flower Ozu's first film in colour
1959 お早よう Ohayo Good Morning Remake of I Was Born, But...
浮草 Ukigusa Floating Weeds Remake of A Story of Floating Weeds
1960 秋日和 Akibiyori Late Autumn
1961 小早川家の秋 Kohayagawa-ke no aki The End of Summer
1962 秋刀魚の味 Sanma no aji An Autumn Afternoon Ozu's final work

Notes[edit]

  1. ^ The Japanese name ending "jiro" indicates a second son.
  2. ^ 宇治山田高等学校
  3. ^ 神戸高商, Kobe Kosho
  4. ^ 三重県立師範学校, Mie-ken ritsu shihan gakko
  5. ^ Ozu's military service was of a special type called ichinen shiganhei (一年志願兵) where the usual two-year term of conscription was shortened to one year on condition that the conscriptee paid for himself.
  6. ^ ゼェームス槇
  7. ^ 茅ケ崎館
  8. ^ 雲呼荘
  9. ^ 無芸荘

References[edit]

  1. ^ a b c Hasumi 2003, p. 319
  2. ^ Weston, Mark (1999). Giants of Japan. Kodansha International. p. 303. 
  3. ^ a b c d Hasumi 2003, p. 320
  4. ^ a b c d Hasumi 2003, p. 321
  5. ^ Shindo 2004, p. 11
  6. ^ Hasumi 2003, p. 322
  7. ^ a b c d e Hasumi 2003, p. 327
  8. ^ a b c Shindo, Kaneto (21 July 2004). Shinario Jinsei [A life in scriptwriting]. Iwanami Shinsho (in Japanese) 902. Iwanami. ISBN 4-00-430902-6. 
  9. ^ a b Hasumi 2003, p. 329
  10. ^ Shindo 2004, pp. 31–32
  11. ^ "Nihon eiga kantoku kyōkai nenpyō" (in Japanese). Nihon eiga kantoku kyōkai. Retrieved 17 August 2010. 
  12. ^ Easterwood, Kurt (2004). "Yasujiro Ozu's gravesite in Kita-Kamakura: How to get there (Part Two).". Retrieved 2009-08-20. 
  13. ^ Anderson, Lindsay (Winter 1957). "Two inches off the ground". Sight & Sound. 
  14. ^ Richie, Donald (July 1977). Ozu. University of California Press. ISBN 0-520-03277-2. 
  15. ^ Schrader, Paul (1972). Transcendental Style in Film: Ozu, Bresson, Dreyer. ISBN 0-306-80335-6. 
  16. ^ Bordwell, David (1988). Ozu and the Poetics of Cinema. Princeton University Press. ISBN 0-691-00822-1. 
  17. ^ "BFI Sight & Sound Top Ten Poll 2002 - The Critics' Top Ten Directors". 2 August 2011. Retrieved 22 August 2012. 
  18. ^ a b Ebert, Roger, "Ozu: The Masterpieces You've Missed", retrieved June 8, 2014.
  19. ^ Bordwell, David. "Konban-wa, Ozu-san". 
  20. ^ Ebert, Roger. "Floating Weeds (1959)". Chicago Sun-Times. Retrieved 22 August 2012. 
  21. ^ Hasumi 1998, p. 229
  22. ^ Sato 1997b, p. 280

Sources[edit]

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