My 2020 highlight was discovering director Yazsujiro Ozu, watching 25 of his films on the BFI Player. I had only seen one before and that was BANSHUN (LATE SPRING).
Ozu's meticulous framing, low-level cinematography and having actors address the camera in conversation casts a hypnotic spell as do the 'pillow' scene transitions - shots of trains, buildings, or restaurant and bar signs.
His 54 silent and sound films scanned 1927 to 1962 but BANSHUN explored the shomingeki genre of ordinary working and middle class familes.
Widower Professor Somiya and his 27 year-old daughter Noriko live contentedly together until Noriko's aunt says it's time Noriko was married. Noriko doesn't want to leave her father alone but her aunt says she has a widow in mind for Somiya, leaving Noriko with confused emotions.
Agreeing to her aunt's choice of husband, Noriko and Somiya have a last trip before life changes.
Shelf
or charity shop? It's what shelves were made for. BANSHUN is deservedly 15th on the current Sight & Sound Greatest Films of All-Time list. Ozu's film is deceptively simple but resonates in the mind with it's universal themes of family, society's expectations, and sacrifice but also because of the performances from the two lead performers. Chisu Ryu is remarkable as the taciturn Somiya; Ryu appeared in 52 of Ozu's 54 films, rising from extra to star and here his every "Hmmm" and "ahh" are loaded with meaning. Setsuko Hara was already a star when Ozu chose her to play Noriko, and she is unforgettable. She and Chisu went on to appear together in six more Ozu films including the magnificent TOKYO MONOGATARI (TOKYO STORY) which is listed 3rd in the same Sight & Sound Greatest Films list. Another actress who appeared regularly for Ozu was Haruko Sugimura who is fine here as the matchmaking aunt and Yumeji Tsukioka is a delight as Hara's 'modern' cousin who has a job and is about to embark on her second marriage. One for the ages...
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