The oft-quoted cliché about Yasujirō Ozu is that he is the most “Japanese” of Japanese directors, a somewhat problematic claim (is there really a single ideal expression of Japanese character?) that nonetheless strives to describe a style and sensibility that rejected the cinematic influences of the West. His evolution is all the more fascinating given his love of Hollywood films as a voracious young film buff. His film career began in the early 1920s as an assistant cameraman at Shochiku, Japan’s biggest film studio. He remained at Shochiku his entire career, working his way up to assistant to director Tadamoto Okubo before making his directorial debut in 1927. The film, the only period piece of his career, has not survived. Ozu made every type of genre in those early years, from lighthearted college comedies to crime dramas and romantic melodramas to social dramas, turning out as many as six features a year. But, he really found his voice in shomin-geki, which translates to “home drama,” stories that explore the everyday lives of middle and lower middle-class citizens.
Where so many of his contemporaries delved into adventures and elegant period dramas, Ozu’s films are contemporary to his times. From his silent films in the early 1920s to his final film in 1962, An Autumn Afternoon, he set his quietly understated family dramas and modest comedies in the homes and workplaces of everyday citizens trying to make a life for themselves and their children. His films are a veritable survey of Japanese society from the late 1920s to the early 1960s, exploring themes of social expectations, familial responsibility, sacrifice and the collision of traditional culture and modern life, from The Depression through The War to the transition of a new democracy and Western-style economy.
TCM celebrates the legacy of Yasujirō Ozu, proclaimed by film critic and historian David Bordwell as “the greatest director ever to work in the history of cinema,” with 20 features plus the TV premiere of a new documentary on the legendary filmmaker.