? As a representative figure of Japanese national films, Yasujirō Ozu's films mostly focus on the family and discuss the relationship between father and children, so Ozu is also known as a "civilian director". His films do not show major contradictions and conflicts, but are immersed in the description of family life. A series of "marrying women" films, such as Late Spring and Mai Qiu, focus not on the birth of a new couple, but more on the fact that his daughter is married to his father.
Ozu is best known for his unique photographic techniques. He not only created a low-pitched Oriental Quiet Story according to the architectural structure of Japan, but also infiltrated the ethical spirit of oriental culture into his works, reflecting the contemplation under the influence of Japanese Zen culture and calmly facing the passage of time and life.
? Just like the story of Taste of Kobayakawa's Home actually happened in midsummer, there is no saury in the whole story of Taste of saury, and Ozu takes its bleak meaning of bleak autumn wind and lonely winter. Ozu's early films were influenced by American films, and he filmed stories about the relationship between father and son. Later, he gradually transferred to the relationship between father and daughter. The attachment, worship and loyalty in the relationship between father and daughter are all unique to oriental emotions.
? In the family that established a new order after the lack of mother, the daughter took the place of the mother and managed the trivial matters in the family. She reprimanded her father and brother for coming home late without saying a word, and threatened that "no more food will be left". Obviously, this is no longer a daughter's tone, and everyone in the family took it all in stride. It was not until the middle school teacher was down and out after drinking alone at the reunion that the bleak evening scene was highlighted in the hilarious laughter and lived together.
? At this time, "daughter getting married" is no longer a simple sense of men's and women's feelings, but has a very different meaning. Psychoanalyst Freud once put forward "Oedipus complex", in which children began to seek sexual objects from the outside world during the period of object selection in sexual development. For young children, this object is first of all parents, while boys choose their mothers and girls often choose their fathers. In this case, the boy has a special feeling for his mother, regards his mother as his own property, and regards his father as the enemy to win this property, and wants to replace his father in the relationship between parents.
In the film, the opposition between the father's marriage to his daughter and his reluctance to his daughter can be regarded as the helplessness of patriarchy. In the traditional sense of the East, the daughter's marriage reflects the responsibility of the elders to the younger generation, and it is also the reluctance of the younger generation to the elders when they leave their families. However, when Ozu expresses this feeling, on the one hand, he almost ignores "love", the basic concept of contemporary marriage and family, on the other hand, he gives his daughter a sense of ritual in the traditional ethical order.
? There are many hints about this emotional contradiction in the film to highlight the irreplaceable role of young women in the family dominated by older men. My father's good friend dug a well and married a young lady, and the spring breeze was proud; As soon as his painting style changed, Hirayama returned home and was greeted by his equally young daughter, Daozi, who had completely played the role of "wife" and "mother" without family. Through subtle but effective text hints, Ozu erases the supposed clear-cut distinction between "wife" and "daughter" and regards it as a female whole, which has emotional service value to the dominant "husband" and "father" in the family.
? When the daughter got married, she put on a gorgeous kimono. The more dignified and beautiful the daughter is, the more precious she represents her father's "loss", which makes his sacrifice have lofty value. People in the old days represented by her father can only remember it in the glory of the past military. Although Hirayama is so dependent on and attached to his daughter Daozi, he still has to sell her to a new era, just to continue the reorganization of a higher order; The daughter, though so fond of and attached to the patriarchal family, is also forced to be separated from the patriarchy for the development of this high-level system. Both of them have made sacrifices for the external transcendental order they recognized, but in contrast, the spirit of sacrifice of patriarchy is even more decisive: the daughter is still young and energetic and has a controllable future, but the father is already dying, and can only lament the glory of the past and swallow the pain of losing power. This is the ideological essence conveyed by Hirayama's salute to the military music and the whispering after drinking.
? On the map of world film history, Japanese films have always had their own place. Although Japanese films have not been able to get rid of the declining trend for many years, they are extremely calm and peaceful. Perhaps no other country's films in the world can be deeply rooted in local culture like Japanese films. If you want to ask which director can represent Japanese culture, the answer may be different. Each director has his own unique style and technique. Akira Kurosawa, the "film emperor", represents Japanese samurai culture, Kenji Mizoguchi represents Japanese kabuki culture, Nagisa??shima represents Japanese extremism, and Yasujirō Ozu represents Japanese civilian culture.
In the eyes of the audience nourished by Hollywood films, Ozu's films are quite boring. Although the static photography method can't bring sensory stimulation, this quiet and elegant style, which comes down in one continuous line with Japanese traditional culture, brings a breeze to the film industry.