An Autumn Afternoon (Japan: Sanma no aji), 1962.
Directed by Yasujiro Ozu.
Starring Chishu Ryu, Shima Iwashita, Keiji Sada and Mariko Okada.
SYNOPSIS:
An aging widower arranges a marriage for his only daughter.
An Autumn Afternoon tells the story of Hirayama (Chishu Ryu), an older man, who has three children. His eldest son, Koichi, is married. His daughter Michiko and college-son Kazuo remain at home. He works within a factory and meets with his friends Kawai and Horie over sake. The three spend a night with a former teacher, referred to as ‘The Gourd’, who lives alone with his daughter. ‘The Gourd’, working in a noodle shop, has an older daughter who has dedicated her life to looking after her father, forsaking her chance to marry. Kawai tells Hirayama that this could be the future of his own daughter. This drives the story, as Hirayama has to release his daughter from the boundaries of home, and marry her into another family.
Ozu’s unique direction is apparent within An Autumn Afternoon, as it would be within the majority of his films. Indoor locations, low-framing and static shots are part and parcel of his oeuvre. The style of filmmaking makes you analyse and hone in on the characters emotion. A final shot of Hirayama sipping tea switches our thoughts – we wonder what he is thinking. Indeed, a calm and slow structure forces a viewer to work harder at considering the purpose of each sequence. This isn’t a flaw in any respect, merely an observation from a viewer who is fed on the fast-paced, urgency of modern filmmaking.
An Autumn Afternoon balances the personal story of Hirayama against the larger context of the change in tradition within Japan. While the arrangement of marriage is an important role for parents – something Hirayama holds dear, it is clear that the traditional role of husband and wife is vastly different within the younger marriage between Koichi and his wife, Mariko. He helps with the chores and food-preparation, literally wearing the apron, while Mariko is happy and content to dictate where the finances will (and will not) go. This larger context provides a fascinating scale to the story – something that a small, domestic story rarely demonstrates.
Ranking amongst the very best filmmakers of all-time, Ozu stands toe-to-toe with Welles and Hitchcock. His inspiration reaches to Jim Jarmusch, Claire Denis and Wim Wenders in contemporary cinema. Ozu, for many years, was considered “too Japanese” for Western audiences. The year his films were screened at the Venice Film Festival, was followed by his death the next year. International films are a great way to experience another culture. But what is clear about An Autumn Afternoon, is how these themes still resonate with Western audiences. Caring for parents may not be as traditionally expected as it is in Japan – especially in 1960’s, but our duty to our family against our own ambitions and aspirations, for a family or otherwise, can often be a conflict. This tender story, though distant, is recognisable and will remain relevant for as long as family exists.
Opening on 16 May 2014 at BFI Southbank and selected cinemas nationwide. Book tickets at BFI Southbank by clicking here.
Flickering Myth Rating – Film: ★ ★ ★ ★ / Movie: ★ ★ ★
Simon Columb – Follow him on Twitter
Originally published May 15, 2014. Updated November 29, 2022.
