Tokyo-born Yasujiro Ozu was a movie buff from childhood, often playing hooky from school in order to see Hollywood movies in his local theatre. In 1923 he landed a job as a camera assistant at Shochiku Studios in Tokyo. Three years later, he was made an assistant director and directed his first film the next year, Zange no yaiba (1927). Ozu made th...
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Tokyo-born Yasujiro Ozu was a movie buff from childhood, often playing hooky from school in order to see Hollywood movies in his local theatre. In 1923 he landed a job as a camera assistant at Shochiku Studios in Tokyo. Three years later, he was made an assistant director and directed his first film the next year, Zange no yaiba (1927). Ozu made thirty-five silent films, and a trilogy of youth comedies with serious overtones he turned out in the late 1920s and early 1930s placed him in the front ranks of Japanese directors. He made his first sound film in 1936, Hitori musuko (1936), but was drafted into the Japanese Army the next year, being posted to China for two years and then to Singapore when World War II started. Shortly before the war ended he was captured by British forces and spent six months in a P.O.W. facility. At war's end he went back to Shochiku, and his experiences during the war resulted in his making more serious, thoughtful films at a much slower pace than he had previously. His most famous film, Tôkyô monogatari (1953), is generally considered by critics and film buffs alike to be his "masterpiece" and is regarded by many as not only one of Ozu's best films but one of the best films ever made. He also turned out such classics of Japanese film as Ochazuke no aji (1952), Ukikusa (1959) and Sanma no aji (1962).Ozu, who never married and lived with his mother all his life, died of cancer in 1963, two years after she passed. Show less «
I tried to represent the collapse of the Japanese family system through showing children growing up.
I tried to represent the collapse of the Japanese family system through showing children growing up.
About this time [late 1950s], CinemaScope was getting popular. I wanted to have nothing to do with i...Show more »
About this time [late 1950s], CinemaScope was getting popular. I wanted to have nothing to do with it, and consequently I shot more close-ups and used shorter shots. Show less «
I consciously did away with fade-ins and replaced them with the cut. Henceforth, I never used such e...Show more »
I consciously did away with fade-ins and replaced them with the cut. Henceforth, I never used such editing techniques again. In fact, neither dissolve, fade-in nor fade-out can be regarded as 'the grammar of film,' they are no more than characteristics of the camera. Show less «
I have formulated my own directing style in my head, proceeding without any unnecessary imitation of...Show more »
I have formulated my own directing style in my head, proceeding without any unnecessary imitation of others. Show less «
Watching Fantasia (1940) I understood we could never win the war. "These people seem to like complic...Show more »
Watching Fantasia (1940) I understood we could never win the war. "These people seem to like complications", I thought to myself. Show less «
Although I may seem the same to other people, to me each thing I produce is a new expression and I a...Show more »
Although I may seem the same to other people, to me each thing I produce is a new expression and I always make each work from a new interest. It's like a painter who always paints same rose. Show less «