Partly because of length, but also because of the socioeconomic investigation, I’m inclined to put this at or toward the top of Ozu’s most epic works. There is a silent horror to the implications of Shoji and Masako’s marriage being, for all intents and purposes, normal.

Various characters, like the veteran bar goer toward the end of the film, verbalize their attained emptiness at the end of their proverbial rat race. Thus, the meaninglessness of Japan’s new economic pathway. We see Shoji as the cog he is. This illicits empathy for him. He lives in his own nightmare.

But as the mom character says, “it’s a man’s world.” And if the men are suffering, you’re right to dread thinking how rough the women have it. Masako is damned by culture and society. Her marriage, despite being hinted at having a happy start, has all but dissolved. And where can she go?

Several scenes felt heightened in their cinematic bredth. The exterior shot of Shoji and Goldfish, or the shot of Shoji and Masako as they face the camera and stare at the train. These moments are visually elevated beyond the borders of their image.

I do think there may be certain ways Ozu spreads himself too thin here. Shoji and Masako’s son as well as Shoji’s ailing friend seem like two key elements which are often kept at arm’s length.

This is one that immediately strikes me as needing a rewatch. This is a little denser in its compacted restraint.

Partly because of length, but also because of the socioeconomic investigation, I’m inclined to put this at or toward the top of Ozu’s most epic works. There is a silent horror to the implications of Shoji and Masako’s marriage being, for all intents and purposes, normal.

Various characters, like the veteran bar goer toward the end of the film, verbalize their attained emptiness at the end of their proverbial rat race. Thus, the meaninglessness of Japan’s new economic pathway. We see Shoji as the cog he is. This illicits empathy for him. He lives in his own nightmare.

But as the mom character says, “it’s a man’s world.” And if the men are suffering, you’re right to dread thinking how rough the women have it. Masako is damned by culture and society. Her marriage, despite being hinted at having a happy start, has all but dissolved. And where can she go?

Several scenes felt heightened in their cinematic bredth. The exterior shot of Shoji and Goldfish, or the shot of Shoji and Masako as they face the camera and stare at the train. These moments are visually elevated beyond the borders of their image.

I do think there may be certain ways Ozu spreads himself too thin here. Shoji and Masako’s son as well as Shoji’s ailing friend seem like two key elements which are often kept at arm’s length.

This is one that immediately strikes me as needing a rewatch. This is a little denser in its compacted restraint.

You know exactly what you’re gonna get from a Yasujiro Ozu film.. So thank the gods it’s in Japanese because I would be on my phone within the 20 minute mark if it wasn’t.

You know exactly what you’re gonna get from a Yasujiro Ozu film.. So thank the gods it’s in Japanese because I would be on my phone within the 20 minute mark if it wasn’t.

Ozu’s films—at least the three I’ve seen—tend to have similar tones. They’re generally set in idyllic environments where people are all polite and tender at heart. His characters must come to terms with the rapid passage of time and seek solidarity within themselves and their families. The films are always filled with a deep understanding of the weight of humanity’s lingering struggles, yet carry such immense innocence in their belief in our inherent goodness. Early Spring nuances this by acknowledging that there will inevitably be douchebags who cheat on and objectify their wives. Yet, despite how selfish and thoughtless that prick must be to cheat on their spouse, they’re still a naturally flawed human that’s worthy of forgiveness. 

I recognize that it’s difficult to absorb the fullness of Ozu’s style as an American teen in 2025. Luckily, Good Morning came to me at the perfect time in my life, as I was in desperate need of this innocent optimism. Around a month later, I tried Tokyo Story and was challenged to acknowledge the inevitability of time’s passage. Completely contrasting my previous Ozu experience, I tried Tokyo Story at the complete wrong time and ended up being disengaged and unable to absorb the fullness of his style. It’s unfortunate that I need to be in the right frame of mind to enjoy his films, but, man, when I’m in an Ozu mindset, watching his films make life feel worth living. I luckily was in this mindset for Early Spring, and I can connect deeply with the surrounding character’s struggles with navigating young adulthood (a stage that’s increasingly close, in my case.) I’m beginning to understand the difficulty of managing money, the stress of finding my place in the workforce, and finding some sort of solidarity within committed romance, all while simultaneously investing in my own future. I’m nearing the Early Spring of my life, after all.

Ozu’s films—at least the three I’ve seen—tend to have similar tones. They’re generally set in idyllic environments where people are all polite and tender at heart. His characters must come to terms with the rapid passage of time and seek solidarity within themselves and their families. The films are always filled with a deep understanding of the weight of humanity’s lingering struggles, yet carry such immense innocence in their belief in our inherent goodness. Early Spring nuances this by acknowledging that there will inevitably be douchebags who cheat on and objectify their wives. Yet, despite how selfish and thoughtless that prick must be to cheat on their spouse, they’re still a naturally flawed human that’s worthy of forgiveness. 

I recognize that it’s difficult to absorb the fullness of Ozu’s style as an American teen in 2025. Luckily, Good Morning came to me at the perfect time in my life, as I was in desperate need of this innocent optimism. Around a month later, I tried Tokyo Story and was challenged to acknowledge the inevitability of time’s passage. Completely contrasting my previous Ozu experience, I tried Tokyo Story at the complete wrong time and ended up being disengaged and unable to absorb the fullness of his style. It’s unfortunate that I need to be in the right frame of mind to enjoy his films, but, man, when I’m in an Ozu mindset, watching his films make life feel worth living. I luckily was in this mindset for Early Spring, and I can connect deeply with the surrounding character’s struggles with navigating young adulthood (a stage that’s increasingly close, in my case.) I’m beginning to understand the difficulty of managing money, the stress of finding my place in the workforce, and finding some sort of solidarity within committed romance, all while simultaneously investing in my own future. I’m nearing the Early Spring of my life, after all.

Med snøen som faller utenfor mitt vindu denne sene mars kvelden, vil jeg argumentere for at det fortsatt er "Early Spring", kjære venner, så denne er fortsatt tillatt å se. At naboen nå synger veldig høyt på karaokemaskin, tror jeg, veldig stygg sang hvertfall, liker jeg å se på som at han synger våren inn, istedenfor distraksjonen det objektivt er... kjære bråkete venner...

Hver innstilling perfekt lengde, og hver frame drunket i følelse; jeg liker godt Ozu sin forholdsperiode... kjære venner... det er nok mine favoritter av han, denne, en av de...

Generelt sett ville jeg tenkt at Masako fortjener bedre her, Shôji har mange feil; men det er nettopp det, det er feil han har. Ozu er mer empatisk enn meg... kjære venner... ingen ondskap i sikte, og som med mange av hans filmer, sitter jeg igjen med et melankolsk håp, et ønske om en fremtid tilskitnet av fortidens usynlige blekk... for en fenomenal film! Kjære, håpefulle, venner...

Kvalt av eksos
Og skyskraperen
Dreier seg om min hals
Kun de tetteste berg
Frigjør meg nå

Det var Ozu nummer 12! Kanon! Hilsen, Markus.!:)

#TankensÅr #ÆrlighetensÅr #SeKlart #TjueTjueFire #Trist #PåGrensenTilGråt #Tog #Statisk #ChisuRyu! #YasujirŌMG #Tur #Nudler #Øl #Sake #Markus #Swag

Med snøen som faller utenfor mitt vindu denne sene mars kvelden, vil jeg argumentere for at det fortsatt er "Early Spring", kjære venner, så denne er fortsatt tillatt å se. At naboen nå synger veldig høyt på karaokemaskin, tror jeg, veldig stygg sang hvertfall, liker jeg å se på som at han synger våren inn, istedenfor distraksjonen det objektivt er... kjære bråkete venner...

Hver innstilling perfekt lengde, og hver frame drunket i følelse; jeg liker godt Ozu sin forholdsperiode... kjære venner... det er nok mine favoritter av han, denne, en av de...

Generelt sett ville jeg tenkt at Masako fortjener bedre her, Shôji har mange feil; men det er nettopp det, det er feil han har. Ozu er mer empatisk enn meg... kjære venner... ingen ondskap i sikte, og som med mange av hans filmer, sitter jeg igjen med et melankolsk håp, et ønske om en fremtid tilskitnet av fortidens usynlige blekk... for en fenomenal film! Kjære, håpefulle, venner...

Kvalt av eksos
Og skyskraperen
Dreier seg om min hals
Kun de tetteste berg
Frigjør meg nå

Det var Ozu nummer 12! Kanon! Hilsen, Markus.!:)

#TankensÅr #ÆrlighetensÅr #SeKlart #TjueTjueFire #Trist #PåGrensenTilGråt #Tog #Statisk #ChisuRyu! #YasujirŌMG #Tur #Nudler #Øl #Sake #Markus #Swag