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In prewar/wartime Japan, and postwar Japan to some extent, the clothes, especially women’s, convey various implications as to the social/cultural roles, status and psychology of the character. This implication is clearly evident in Ozu’s films. In Ozu’s prewar, wartime films, majority of female characters wear kimonos, while male characters are dominantly in western clothes. However, after the war, the (young) female characters are completely converted to the western dress, as can be evidenced by “Late Spring”. Noting that “Late Spring” and “There Was A Father” or “Brothers and Sisters of the Toda Family” are only less than ten years apart, …

Shohei Imamura, a very prominent Japanese film director (Pigs and Battleships, The Ballad of Narayama, The Eel), was once Ozu’s assistant. He immensely hated Ozu’s style of film direction and asked to be relieved from the position. To him, Ozu had always picked the worst take out of tens of retakes. Ozu’s endless retake was infamous in the studio, as he kept saying no until actors and actresses were so exhausted that their uniqueness were stripped off. Imamura found nothing to be learned from Ozu’s direction. It is true that many of the acting in Ozu’s films look unnatural and …