Equinox Flower

Film

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Time Out says

Ozu's first film in colour, and he uses it sparingly. Subdued dress sense and domestic interiors are set against splashes of significant red (look out for the kettle!), representing the amaryllis which blooms around the autumn equinox - the perfect image for a film about transition. Saburi's the father fretting over the marriage of eldest daughter Arima, who's fallen in love and become engaged without involving her dad in the decision. In many ways, he's a figure caught between Japanese traditionalism and liberalising western influence, since he's perfectly happy to advise other people's children to find their own way in life. It's an irony not lost on the director, who marshals the progress towards harmonious resolution with his usual mastery. The cut from satisfied spouse Tanaka sitting in her favourite chair to a brightly fluttering washing line is a moment of truly exquisite transcendence.
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Release details

UK release:

1958

Duration:

120 mins

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Technoguy

Ozu's first colour movie with a great play on red.Indeed the red higanbana flower that blooms during the autumn equinox.This is a beautifully restrained film whose twin themes are-intergenerational conflict between parents and children,and inconsistency."Everyone is inconsistent, except God",Wataru insists."The sum total of inconsistencies is life!"The daughters usually go their own way and the fathers lose out in the way of letting go.The dominant partner is the one (like Kiyoko)who sides with their daughter.No characters are black and white.Wataru who objects to his daughter's unarranged marriage is an outward proponent of liberal values.The daughters similarly, one outwardly modern with western style clothes,but inwardly accomodating,remaining home when told to do so,accepting her fiance's methods of proposal.In contrast the other dressed in traditional clothes is quick to shrug off her mother's matchmaking and plays the trickster towards Setsuko's father so she can get her way.The colours and framing is precisely orchestrated and balanced,the filming is at waist high level,showing exquisite irony and use of eccentric characters or group dynamics.The music is gentle to suit the tone of the film.

Technoguy

Ozu's first colour movie with a great play on red.Indeed the red higanbana flower that blooms during the autumn equinox.This is a beautifully restrained film whose twin themes are-intergenerational conflict between parents and children,and inconsistency."Everyone is inconsistent, except God",Wataru insists."The sum total of inconsistencies is life!"The daughters usually go their own way and the fathers lose out in the way of letting go.The dominant partner is the one (like Kiyoko)who sides with their daughter.No characters are black and white.Wataru who objects to his daughter's unarranged marriage is an outward proponent of liberal values.The daughters similarly, one outwardly modern with western style clothes,but inwardly accomodating,remaining home when told to do so,accepting her fiance's methods of proposal.In contrast the other dressed in traditional clothes is quick to shrug off her mother's matchmaking and plays the trickster towards Setsuko's father so she can get her way.The colours and framing is precisely orchestrated and balanced,the filming is at waist high level,showing exquisite irony and use of eccentric characters or group dynamics.The music is gentle to suit the tone of the film.