Late Autumn (1960) - Yasujiro Ozu
Meddlesome matchmaking in mid-century Japan. Astute observations from Ozu in this charming comedy. Delicate and unassuming.
There’s more than a little French influence here. The colour scheme is something Jean Pierre Melville would use himself and call “making a colour film in black and white”, although here the palate is brighter, closer to Douglas Sirk. The use of an accordion sounds so natural. And Ozu’s players say everything with a smile on their face, a variation on Robert Bresson’s insistence on neutral expressions, although Ozu had been doing this already from the start.