Sanma no aji

ÉVALUATION IMDb

MA NOTE

Un veuf vieillissant arrange le mariage de sa fille unique.Un veuf vieillissant arrange le mariage de sa fille unique.Un veuf vieillissant arrange le mariage de sa fille unique.

Voir l’information sur la production à IMDbPro

ÉVALUATION IMDb

8,0/10

11 k

MA NOTE

Voir l’information sur la production à IMDbPro

Prix
- 4 victoires et 1 nomination au total

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Otona no miru ehon - Umarete wa mita keredo

8,1

Contes de la lune vague après la pluie

Histoire

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Le saviez-vous

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Anecdotes
Yasujirô Ozu: [static camera] There is not a single camera movement in the entire film, as in many of Ozu's films.

Citations
[English subtitled version]
Yoshitaro Sakamoto: If Japan had won the war, how would things be?
Shuhei Hirayama: I wonder.
Yoshitaro Sakamoto: More whiskey! Bring us the whole bottle. If we'd won, we'd both be in New York now. New York. And not just a pachinko parlor called New York. The real thing!
Shuhei Hirayama: Think so?
Yoshitaro Sakamoto: Absolutely. Because we lost, our kids dance around and shake their rumps to American records. But if we had won, the blue-eyed ones would have chignon hairdos and chew gum while plunking tunes on the shamisen.
Shuhei Hirayama: But I think it's good we lost.
Yoshitaro Sakamoto: You think? Yeah, maybe you're right. The dumb militarists can't bully us anymore.

Générique farfelu
The film title and credits are set against a backdrop of painted fronds.

Generally Yasujirô Ozu films have the credits placed before a backdrop of plain sackcloth.

Connexions
Featured in Yasujirô Ozu, le cinéaste du bonheur (2023)

Bandes originales
Gunkan kôshinkyoku
(Warship March)
Written by Tôkichi Setoguchi

Commentaires des utilisateurs47

Commentaire

Commentaire en vedette

10/10

This was one of the first Ozu films I saw, and is one of my favorites. Ozu's themes - a family adjusts uneasily to the rapidly shifting traditions of life in middle-class, postwar Japan - are handled with great subtlety, and many dark ironies are to be found beneath the fragile quietude at this film's surface. This isn't just applicable to Japan, and this realization gives this film a sad sting that stuck with me long after the movie was over. Ozu's famous 'look' - no closeups, no crane shots, a still camera fixed at 3 1/2 feet off the floor or ground also gives this film an unforgettable grace and beauty. DVD please???