An Jiro's works?

I'm glad that some people still like Mr. Ozu's movies. In my opinion, he is the last pure oriental director (Kurosawa is an oriental deeply influenced by the West, and he can no longer represent the oriental culture). His film theme and film language are the true representatives of oriental culture. According to my own preferences, I list several films that I think are classic and represent Mr. Ozu. Please refer to the landlord.

Autumn afternoon saury flavor 1962

Floating grass floating grass 1959

Early spring 1956

Tokyo Story Tokyo Story 1953

Green tea overwhelms the taste of rice. The taste of tea and rice in soup 1952

Early summer wheat and autumn 195 1

Late spring 1949

Yasujir? Ozu

Yasujir? Ozu

Date of birth1903-12-12

Born in Tokyo, Japan

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1903 12 12, ozu was born in Qifandi, Shangmachi, Shenchuan District, Tokyo. His father runs seafood wholesale, and he has four brothers and sisters. In 19 13, Ozu brothers and their mother moved to Matsuzaka House in Yi Shi near Nagoya, while their father was on a business trip. From the age of ten to twenty, Ozu rarely saw his father. With maternal love, he became a willful and naughty child.

Ozu disliked institutionalized life since he was a child, especially rebelling against school education. He is undisciplined and has the habit of drinking. Because of his fascination with American movies, he often cheats his mother, climbs mountains with friends, and even goes to a nearby town to watch movies. At the age of seventeen, Ozu wrote a "frivolous" letter to his junior classmates and was expelled from the dormitory by the school. After graduating from middle school, he found a job as a teacher in a remote mountain village, where he stayed for a whole year and drank wine for a whole year. It is said that friends come to see him, and Ozu always pulls them to drink. When he finally left the mountain village, Ozu's father had to send money to pay off his wine debt, when he was only twenty years old.

Soon after, recommended by relatives and friends, Ozu joined Matsuzaka Film Company as a photography assistant, running around with his camera on his back all day. He seems to enjoy it, too, and doesn't expect to achieve anything immediately. The process of Ozu becoming a director is also very interesting. One noon, he ordered a curry fried rice in the restaurant of the film factory, but he couldn't wait long. At this time, a director walked into the restaurant and ordered the same fried rice, which was quickly delivered by the waiter. Ozu complained to the waiter, and the waiter's answer was very direct, because the man was a director, and of course he was faster than you. Ozu, who seldom gets angry, couldn't swallow this tone and gave the waiter a slap in the face. Things went to the boss of the film company, Matsudo Shiro. After listening to Ozu's statement, Matsudo asked him to write a script, suggesting that he should be trained as a film director. In this way, every cloud of Ozu has a glimmer of hope to shoot his debut "The Knife of Confession", which is also his only costume film.

Although Ozu has been naughty since childhood, he is introverted and shy. He has never been married and has been living with his mother. An interesting contrast is that in Ozu's movies, there are scenes of men marrying women. When a man marries a woman, her children will eventually leave their parents, and the fission of the family is like the reorganization of cells. In many films in Ozu's later period, the last scene is a lonely father or mother living alone in a room, calmly accepting the reality of life, because young people always pursue happiness, and it seems normal for the elderly to be lonely at home. Every generation has come over like this, just like the widowed mother in Autumn Peace calmly responded to her daughter's marriage: "There is no way to be lonely! As long as she can get happiness, what can she do without patience? "

Adult children leave their parents because of marriage, leaving the elderly at home to face the future life alone, which is the eternal theme of Ozu's films, even the only theme. This theme has appeared in his early silent films. 1933 The Lost Fantasy, which won the first place in the Japanese film Ten Days, is about a boy who lives alone with his father. After falling in love with his young girlfriend, his father plans to leave the boy and go to work in a distant city. But at the end of the movie, the father finally turned back halfway and returned to his son. Compared with the scene of children leaving their parents in Ozu's later films, the story of this silent film is just the opposite and the ending is happy. However, looking at Ozu's creative career, Lost Fantasy is an important prelude, because it foreshadows the basic patterns of later films such as Once upon a time there was a father, Late Spring, Autumn Peace and the Taste of saury.

Otsu's admirers often admire his simple image style. For example, the camera is only three feet from the ground, just like the position where the actor sits on the tatami, which is very suitable for shooting Japanese life scenes. In Ozu's later films, the lens is completely motionless, and the lens processing is even simpler to the extreme. Instead of editing languages such as fading in and out, all the pictures are switched directly, just like the old monk is in meditation and full of Zen.

However, the simplicity of style does not mean that Ozu's films are lifeless. Although the composition of the film is single, it is actually full of inner vitality, and the characters come and go frequently on the screen, which is full of movement. It is said that a western architect participated in the residential design project of a city in Japan, and wanted to know about the changes of residential style during the transition from Japanese tradition to modern society. However, a Japanese friend suggested that she go to see Ozu's film Tokyo Tale.

In fact, Japan in Ozu's movies is hard to find today. German director Wenders is an admirer of Ozu. From 65438 to 0985, Wenders made a special trip to Japan to make a documentary called Tokyo Ga. As a result, he found that Tokyo in Tale of Tokyo had already become a noisy and almost disorderly modern city. Wenders asserted that even if Ozu was near-re-embodiment, I'm afraid he couldn't shoot the previous image. However, no matter how significant this change is, Ozu has at least preserved the beauty of Japanese traditional culture for the audience, and his delicate description of human nature has not lost its luster because of the changes of the times. Today, more than half a century later, Ozu's films can still impress us.

Ozu died on196365438+February 12, which happened to be his sixtieth birthday. On his tombstone, there is only one Chinese character-"nothing".