Yasujirō Ozu

Template:Short description Template:Use dmy dates Template:Use British English Template:Infobox person

Template:Nihongo was a Japanese filmmaker. He began his career during the era of silent films, and his last films were made in colour in the early 1960s. Ozu first made a number of short comedies, before turning to more serious themes in the 1930s. The most prominent themes of Ozu's work are family and marriage, and especially the relationships between generations. His most widely beloved films include Late Spring (1949), Tokyo Story (1953) and An Autumn Afternoon (1962).

Widely regarded as one of the world's greatest and most influential filmmakers, Ozu's work has continued to receive acclaim since his death. In the 2012 Sight & Sound poll, Ozu's Tokyo Story was voted the third-greatest film of all time by critics world-wide. In the same poll, Tokyo Story was voted the greatest film of all time by 358 directors and film-makers world-wide.<ref name="director2012">Template:Cite web</ref>

Biography

Early life

Ozu was born in the Fukagawa district of Tokyo, the second son of merchant Toranosuke Ozu and his wife Asae.<ref name=":0">Template:Cite book</ref> His family was a branch of the Ozu Yoemon merchant family from Ise, and Toranosuke was the 5th generation manager of the family's fertilizer business in Nihonbashi.<ref name=":1">Template:Cite book</ref> Asae came from the Nakajō merchant family.<ref name=":0" /><ref name=":1" /> Ozu had five brothers and sisters. When he was three, he developed meningitis, and was in a coma for a couple of days. Asae devoted herself to nursing him, and Ozu made a recovery.<ref name=":0" /> He attended Meiji nursery school and primary school.<ref name="Hasumi-319">Template:Harvnb</ref> In March 1913, at the age of nine, he and his siblings were sent by his father to live in his father's home town of Matsusaka in Mie Prefecture, where he remained until 1924.<ref name="Hasumi-319"/><ref>Template:Cite book</ref> In March 1916, at the age of 12, he entered what is now Ujiyamada High School.<ref group="n">宇治山田高等学校</ref> He was a boarder at the school and did judo.<ref name="Hasumi-319"/> He frequently skipped classes to watch films such as Quo Vadis or The Last Days of Pompeii. In 1917, he saw the film Civilization and decided that he wanted to be a film director.<ref name="Hasumi-320">Template:Harvnb</ref>

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.<ref name="Hasumi-320"/>

In March 1921, Ozu graduated from the high school. He attempted the exam for entrance into what is now Kobe University's economics department,<ref group="n">神戸高商, Kobe Kosho</ref> but failed. In 1922, he took the exam for a teacher training college,<ref group="n">三重県立師範学校, Mie-ken ritsu shihan gakko</ref> but failed it too. On 31 March 1922, he began working as a substitute teacher at a school in Mie prefecture. He is said to have traveled the long journey from the school in the mountains to watch films on 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 returned to live in Tokyo.

Entering the film business

File:Yasujiro Ozu cropped.jpg

Yasujiro Ozu during the filming of Dragnet Girl 1933

With his uncle acting as intermediary, Ozu was hired by the Shochiku Film Company, as an assistant in the cinematography department, on 1 August 1923, against the wishes of his father.<ref name="Hasumi-320"/> 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.<ref name="Hasumi-320"/><ref group="n">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.</ref> He finished his military service on 30 November 1925, leaving as a corporal.

In 1926, he became a third assistant director at Shochiku.<ref name="Hasumi-321">Template:Harvnb</ref> 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, used it as an opportunity to present a film script he had written.<ref name="Hasumi-321"/> In September 1927, he was promoted to director in the jidaigeki (period film) department, and directed his first film, Sword of Penitence, which has since been lost. Sword of Penitence was written by Ozu, with a screenplay by Kogo Noda, who would become his co-writer for the rest of his career. On September 25, he was called up for service in the military reserves until November, which meant that the film had to be partly finished by another director.<ref name="Hasumi-321"/>

File:突貫小僧 (1929).webm

A Straightforward Boy (1929), an early short film directed by Ozu

In 1928, Shiro Kido, the head of the Shochiku studio, decided that the company would concentrate on making short comedy films without star actors. Ozu made many of these films. The film Body Beautiful, released on 1 December 1928, was the first Ozu film to use a low camera position, which would become his trademark.<ref name="Hasumi-321" /> After a series of the "no star" pictures, in September 1929, Ozu's first film with stars, I Graduated, But..., starring Template:Ill and Kinuyo Tanaka, was released. In January 1930, he was entrusted with Shochiku's top star, Sumiko Kurishima, in her new year film, Template:Ill. 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"<ref group="n">ヂェームス・槇</ref> for his screenwriting credit.<ref>Template:Harvnb</ref> His film Young Miss, with an all-star cast, was the first time he used the pen name James Maki, and was also his first film to appear in film magazine Kinema JumpoTemplate:'s "Best Ten" at third position.<ref name="Hasumi-322">Template:Harvnb</ref>

In 1932, his I Was Born, But..., a comedy about childhood with serious overtones, was received by movie critics as the first notable work of social criticism in Japanese cinema, winning Ozu wide acclaim.<ref>Template:Cite news</ref> In 1935, Ozu made a short documentary with a soundtrack: Kagami Jishi, in which Kikugoro VI performed a Kabuki dance of the same title. This was made by request of the Ministry of Education.<ref name=richie />Template:Rp 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

On 9 September 1937, at a time when Shochiku was unhappy about Ozu's lack of box-office success, despite the praise 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.<ref name="hasumi-327"/> He started as a corporal, but was promoted to sergeant on 1 June 1938.<ref name="hasumi-327"/> From January until September 1938, he was stationed in Nanjing, where he met Sadao Yamanaka, who was stationed nearby. In September, Yamanaka died of illness.<ref name=hasumi-327>Template:Harvnb</ref> 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.<ref name="hasumi-327"/>

Some of Ozu's published diaries cover his wartime experiences between 20 December 1938 and 5 June 1939.<ref name=tanakaAll>Template:Cite book</ref> Another diary from his wartime years (Template:Lang) he expressly forbade from publication. In the published diaries, reference to his group's participation in chemical warfare (in violation of the Geneva Protocol, though Japan had withdrawn from the League of Nations in 1933) can be found, for example, in various entries from March 1939. In one passage, he reflects on the systemic manipulation of Chinese soldiers, comparing them to insects in a way that illustrates their perceived loss of individuality due to propaganda.<ref name=tanakaWar>Template:Cite book</ref> Although operating as a military squad leader, Ozu retains his directorial perspective, once commenting that the initial shock and subsequent agony of a man as he is hacked to death is very much like its depiction in period films.<ref name=sato>Template:Cite book</ref>

Ozu's writings also offers a glimpse into the Japanese military's use of comfort women. In a letter sent to friends in Japan on 11 April 1938, from Dingyuan County in China's Anhui Province, Ozu writes about the comfort station protocol in lightly coded terms.<ref name=tanaka76>Template:Cite book</ref> In a 13 January 1939 diary entry, Ozu writes more openly about his group's upcoming turn for use of a comfort station near Yingcheng. He mentions that two tickets, ointment and prophylatics are provided, and that three Korean and twelve Chinese women were being held at the comfort station for their use. Comfort station rates and schedules are also given by Ozu.<ref name=tanaka231>Template:Cite book</ref>

In 1939, he wrote the first draft of the script for The Flavor of Green Tea over Rice, but shelved it due to extensive changes insisted on by military censors.<ref name="hasumi-327"/> 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 There Was a Father (Chichi Ariki, 1942), which explored the strong bonds of affection between a father and son despite years of separation.

In 1943, Ozu was again drafted into the army for the purpose of making a propaganda film in Burma. However, he was sent to Singapore instead, to make a documentary Derii e, Derii e ("To Delhi, to Delhi") about Chandra Bose.<ref name="shinario-jinsei">Template:Kaneto-shindo-shinario-jinsei</ref> 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 with Orson Welles's Citizen Kane.<ref name="hasumi-329">Template:Harvnb</ref> He occupied a fifth-floor room facing the sea in the Cathay Building where he entertained guests, drew pictures, and collected rugs. At the end of the Second World War, in August 1945, Ozu destroyed the script and all footage of the film.<ref name="shinario-jinsei"/> 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.<ref name="shinario-jinsei"/><ref name="hasumi-329"/>

Postwar

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 Record of a Tenement Gentleman in 1947. Around this time, the Chigasakikan<ref group="n">茅ケ崎館</ref> Ryokan became Ozu's favoured location for scriptwriting.

File:Grave of Yasujiro Ozu.jpg

Ozu's grave at Engaku-ji, Kamakura in 2018

Tokyo Story was the last script that Ozu wrote at Chigasakikan. In later years, Ozu and Noda used a small house in the mountains at Tateshina in Nagano Prefecture called Unkosō<ref group="n">雲呼荘</ref> to write scripts, with Ozu staying in a nearby house called Mugeisō.<ref group="n">無芸荘</ref><ref>Template:Harvnb</ref>

Ozu's films from the late 1940s onward were favourably received, and the entries in the so-called "Noriko trilogy" (starring Setsuko Hara) of Late Spring (1949), Early Summer (1951) and Tokyo Story (1953) are among his most acclaimed works, with Tokyo Story widely considered his masterpiece.<ref>Template:Cite web</ref> Late Spring, the first of these films, was the beginning of Ozu's commercial success and the development of his cinematography and storytelling style. These three films were followed by his first colour film, Equinox Flower, in 1958, Floating Weeds in 1959 and Late Autumn in 1960. In addition to Noda, other regular collaborators included cinematographer Yuharu Atsuta, along with the actors Chishū Ryū, Setsuko Hara and Haruko Sugimura.

His work was only rarely shown overseas before the 1960s; however, Tokyo Story gained recognition after winning the Sutherland Trophy at the 1958 London Film Festival. Ozu's last film was An Autumn Afternoon, which was released in 1962. He then directed the television drama Template:Ill (1963), co-writing it with novelist Ton Satomi.<ref>Template:Cite news</ref><ref>Template:Cite magazine</ref>

He served as president of the Directors Guild of Japan from 1955 until his death in 1963.<ref name="Nenpyo">Template:Cite web</ref> In 1959 he became the first recipient from the field of cinema to win the Japan Art Academy Prize.

Ozu was known for his drinking. He and Noda measured the progression of their scripts by how many bottles of sake they had drunk. Ozu never married.<ref>Template:Cite web</ref> He lived with his mother until she died in 1961.<ref>Darrell William Davis, 'Ozu's mother,' in David Desser (ed.), Ozu's Tokyo Story, Cambridge University Press 1997 Template:Isbn pp.76-100, p.95.</ref>

A heavy smoker, Ozu died of throat cancer in 1963 on his sixtieth birthday. The grave he shares with his mother at Engaku-ji in Kamakura bears no name—just the character mu ("nothingness").<ref>Template:Cite web</ref>

Filmography

Filmography of Yasujirō Ozu<ref name=Hasumi229>Template:Harvnb</ref><ref name=SatoII280>Template:Harvnb</ref>
Year	English title	Japanese title	Rōmaji	Notes
Silent films
1927	Sword of Penitence	懺悔の刃	Zange no yaiba	Lost
1928	Dreams of Youth	若人の夢	Wakōdo no yume	Lost
	Wife Lost	女房紛失	Nyōbō funshitsu	Lost
	Pumpkin	カボチャ	Kabocha	Lost
	A Couple on the Move	引越し夫婦	Hikkoshi fūfu	Lost
	Body Beautiful	肉体美	Nikutaibi	Lost
1929	Treasure Mountain	宝の山	Takara no yama	Lost
	Student Romance: Days of Youth	学生ロマンス　若き日	Gakusei romansu: wakaki hi	Ozu's earliest surviving film
	Fighting Friends Japanese Style	和製喧嘩友達	Wasei kenka tomodachi	14 minutes survives
	I Graduated, But...	大学は出たけれど	Daigaku wa detakeredo	10 minutes survives
	The Life of an Office Worker	会社員生活	Kaishain seikatsu	Lost
	A Straightforward Boy	突貫小僧	Tokkan kozō	Short film
1930	An Introduction to Marriage	結婚学入門	Kekkongaku nyūmon	Lost
	Walk Cheerfully	朗かに歩め	Hogaraka ni ayume
	I Flunked, But...	落第はしたけれど	Rakudai wa shitakeredo
	That Night's Wife	その夜の妻	Sono yo no tsuma
	The Revengeful Spirit of Eros	エロ神の怨霊	Erogami no onryō	Lost
	The Luck Which Touched the Leg	足に触った幸運	Ashi ni sawatta kōun	Lost
	Young Miss	お嬢さん	Ojōsan	Lost
1931	The Lady and the Beard	淑女と髯	Shukujo to hige
	Beauty's Sorrows	美人哀愁	Bijin aishu	Lost
	Tokyo Chorus	東京の合唱	Tōkyō no kōrasu
1932	Spring Comes from the Ladies	春は御婦人から	Haru wa gofujin kara	Lost
	I Was Born, But...	大人の見る繪本　生れてはみたけれど	Otona no miru ehon — Umarete wa mita keredo
	Where Now Are the Dreams of Youth?	靑春の夢いまいづこ	Seishun no yume ima izuko
	Until the Day We Meet Again	また逢ふ日まで	Mata au hi made	Lost
1933	Woman of Tokyo	東京の女	Tōkyō no onna
	Dragnet Girl	非常線の女	Hijōsen no onna
	Passing Fancy	出来ごころ	Dekigokoro
1934	A Mother Should Be Loved	母を恋はずや	Haha o kowazuya
1934	A Story of Floating Weeds	浮草物語	Ukigusa monogatari
1935	An Innocent Maid	箱入娘	Hakoiri musume	Lost
1935	An Inn in Tokyo	東京の宿	Tōkyō no yado
1936	College Is a Nice Place	大学よいとこ	Daigaku yoitoko	Lost
Sound, black-and-white films
1936	Lion in the Mirror	菊五郎の鏡獅子	Kagami jishi	Short documentary
1936	The Only Son	一人息子	Hitori musuko
1937	What Did the Lady Forget?	淑女は何を忘れたか	Shukujo wa nani o wasureta ka
1941	Brothers and Sisters of the Toda Family	戸田家の兄妹	Todake no kyōdai
1942	There Was a Father	父ありき	Chichi ariki
1947	Record of a Tenement Gentleman	長屋紳士録	Nagaya Shinshiroku
1948	A Hen in the Wind	風の中の牝鶏	Kaze no naka no mendori
1949	Late Spring	晩春	Banshun	Ozu's first film with Setsuko Hara
1950	The Munekata Sisters	宗方姉妹	Munekata Kyōdai
1951	Early Summer	麥秋	Bakushu
1952	The Flavor of Green Tea over Rice	お茶漬の味	Ochazuke no aji	Adapted from censored 1939 script
1953	Tokyo Story	東京物語	Tōkyō monogatari
1956	Early Spring	早春	Sōshun
1957	Tokyo Twilight	東京暮色	Tōkyō boshoku
Colour films
1958	Equinox Flower	彼岸花	Higanbana	Ozu's first film in colour
1959	Good Morning	お早よう	Ohayō	Remake of I Was Born, But...
1959	Floating Weeds	浮草	Ukigusa	Remake of A Story of Floating Weeds
1960	Late Autumn	秋日和	Akibiyori
1961	The End of Summer	小早川家の秋	Kohayagawa-ke no aki	Ozu's last film with Setsuko Hara
1962	An Autumn Afternoon	秋刀魚の味	Sanma no aji	Ozu's final work

Legacy and style

File:Setsuko Hara and Yasujiro Ozu in Tokyo Story.jpg

Setsuko Hara (left) and Yasujirō Ozu (far right) on location of Tokyo Story (1953)

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 sound films.<ref>Template:Cite web</ref> He did not conform to Hollywood conventions.<ref name="Ebert_Masterpieces">Ebert, Roger, "Ozu: The Masterpieces You've Missed", retrieved 8 June 2014.</ref> Rather than using the typical over-the-shoulder shots in his dialogue scenes by most directors, the camera gazes on the actors directly, which has the effect of placing the viewer in the middle of the scene.<ref name="Ebert_Masterpieces"/> Throughout his career, Ozu used a 50mm lens, which is usually considered to be the lens closest to human vision.<ref> Projecting History: German Nonfiction Cinema, 1967-2000, Nora M. Alter, 2009</ref>

Ozu did not use typical transitions between scenes. 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.<ref name="mark schilling">Template:Cite web</ref> Ozu moved the camera less and less as his career progressed, and ceased using tracking shots altogether in his colour films.<ref>Template:Cite book</ref> 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."<ref>Template:Cite web</ref>

File:Yasujiro ozu shooting.jpg

Ozu during a film shoot

Ozu 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.<ref>Template:Cite web</ref> Actually, Ozu's camera is often even lower than that, only one or two feet off the ground, which necessitated the use of special tripods and raised sets. He used this low height even when there were no sitting scenes, such as when his characters walked in hallways. When Ozu made his move to colour, he chose to shoot under the German colour process Agfacolor, as he felt that it captured reds much better than any other colour process.<ref>Ozu: His Life and Films; Donald Richie, 1977</ref>

Ozu eschewed the traditional rules of movie 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!"<ref>Template:Cite news</ref>

Ozu was also an innovator in Japanese narrative structure through his use of ellipses, or the decision not to depict major events in the story.<ref name="david desser">Template:Cite book</ref> In An Autumn Afternoon (1962), for example, a wedding is merely mentioned in one scene, and the next sequence references this wedding (which has already occurred); the wedding itself is never shown. This is typical of Ozu's films, which eschew melodrama by eliding moments that would often be used in Hollywood in attempts to stir an emotional reaction from audiences.<ref name="david desser" />

Ozu became recognized internationally when his films were shown abroad.<ref>Template:Cite journal</ref> Influential monographs by Donald Richie,<ref name=richie>Template:Cite book</ref> Paul Schrader,<ref name=shrader>Template:Cite book</ref> and David Bordwell<ref>Template:Cite book</ref> have ensured a wide appreciation of Ozu's style, aesthetics, and themes by the Anglophonic audience.

Awards and honors

Ozu was voted the tenth greatest director of all time in the 2002 British Film Institute's Sight & Sound poll of critics' top 10 directors.<ref>Template:Cite web</ref> 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".

Year of Award or Honor	Name of Award or Honor	Awarding Organization	Country of Origin	Film Title (if applicable)
1932	Best Japanese Film<ref>Template:Cite web</ref>	Kinema Junpo	Japan	I Was Born, But...
1933	Best Japanese Film<ref>Template:Cite web</ref>			Passing Fancy
1934	Best Japanese Film<ref>Template:Cite web</ref>			A Story of Floating Weeds
1941	Best Japanese Film<ref>Template:Cite web</ref>			Brothers and Sisters of the Toda Family
1949	Best Japanese Film<ref>Template:Cite web</ref>			Late Spring
	Best Film<ref name="Mainichi4">Template:Cite web</ref>	Mainichi Film Awards
	Best Director<ref name="Mainichi4"/>
	Best Screenplay<ref name="Mainichi4"/>
1951	Best Director<ref name="cinemahochi1954">Template:Cite web</ref>	Blue Ribbon Awards		Early Summer
1951	Best Japanese Film<ref>Template:Cite web</ref>	Kinema Junpo		Early Summer
1963	Special Award<ref>Template:Cite web</ref>	Mainichi Film Awards

Tributes and documentaries

Five, also known as Five Dedicated to Ozu, is an Iranian documentary film directed by Abbas Kiarostami. The film consists of five long takes set by the ocean. Five sequences: 1) A piece of driftwood on the seashore, carried about by the waves 2) People walking on the seashore. The oldest ones stop by, look at the sea, then go away 3) Blurry shapes on a winter beach. A herd of dogs. A love story 4) A group of loud ducks cross the image, in one direction then the other 5) A pond, at night. Frogs improvising a concert. A storm, then the sunrise.

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 film-maker Hou Hsiao-hsien as homage to Ozu, with direct reference to the late master's Tokyo Story (1953), to premiere on Ozu's birthday.

Ozu was one of film critic Roger Ebert's favourite filmmakers, who described him as the most humanistic director of all time.<ref>Template:Cite web</ref><ref>Template:Cite web</ref><ref>Floating Weeds (1959) review and summary, Roger Ebert, 1997</ref>

In 2013, director Yoji Yamada of the Otoko wa Tsurai yo film series remade Tokyo Story in a modern setting as Tokyo Family.<ref>Template:Cite web</ref>

In the Wim Wenders documentary film Tokyo-Ga, the director travels to Japan to explore the world of Ozu, interviewing both Chishū Ryū and Yuharu Atsuta.<ref>Template:Cite web</ref>

In 2023, OZU: Ozu Yasujirō ga Kaita Monogatari (OZU～小津安二郎が描いた物語～), a 2023 television series based on Yasujirō Ozu's several films premiered.<ref>Template:Cite web</ref>

Notes

References

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Sources

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Torres Hortelano, Lorenzo J., Primavera tardía de Yasujiro Ozu : cine clásico y poética zen, Caja España (León), Obra Social y Cultural, Template:ISBN
Template:Cite book

External links

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Template:IMDb name
OzuYasujirō.com (archived)
Digital Ozu Template:Webarchive – notes from an exhibition at Tokyo University.
Directions for finding Yasujiro Ozu's grave at Engaku-ji
The quiet master at The Guardian
Ozu's Angry Women by Shigehiko Hasumi
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Template:YouTube

Template:Yasujirō Ozu

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