Ozu’s bag of tricks slanted slightly to ask less questions about getting married and more about staying married. The question, “Should I divorce?” isn’t often confronted so directly. More triumphant is the autonomous reclamation of the older sister, Setsuko. What the film leaves her with or which direction it moves her, depending on how you look at it, is brightly optimistic.
I took issue with Ozu’s concluding positioning of power in his previous film, A Hen in the Wind. Here, that complaint would be rendered inverse, almost an entirely opposite balance of hope and reconciliation.
Ozu’s bag of tricks slanted slightly to ask less questions about getting married and more about staying married. The question, “Should I divorce?” isn’t often confronted so directly. More triumphant is the autonomous reclamation of the older sister, Setsuko. What the film leaves her with or which direction it moves her, depending on how you look at it, is brightly optimistic.
I took issue with Ozu’s concluding positioning of power in his previous film, A Hen in the Wind. Here, that complaint would be rendered inverse, almost an entirely opposite balance of hope and reconciliation.