End Of Summer

Changing societies and cultures is at the forefront of one Ozu's last film, End of Summer. The film follows a fading and monetary deficient sake brewery and the family that is desperately trying to save it. Whilst this is happening, love and marital interests blossom for the three daughters of the carefree owner and father Manbei. However the film takes a tragic and ultimately fatal turn when the later suffers from recurring heart attacks.


The film  at first passes itself off as a sort romantic drama,  the way Ozu set's up the story and act's is commendable; by moving it at such a unique pace it allows for the audience to be captivated. In addition while the story is seemingly about the family and the scenarios that encompass their life, the ulterior motive of displaying a rapidly changing Japan constantly hangs over head. Throughout the film we are introduced to a neon sign that proudly displays the message "New Japan". The film takes some care in framing the old versus the new, that is very reminiscent to Antonioni's meticulous camera work. In one shot we so an obelisk modern building dominating the foreground, in the back we see a  forgotten but still present ancient shrine. The beginning we see the suitor of Akiko (the eldest daughter) draped in present fashionable western garb and Akiko in a traditional Kamono. These ideas of what is expected and what is changing is always presented and questioned in the film, however it is up to the audience to decide the answer. Additionally, Manbei's "daughter" from another relationship always brings home a new American beau back, despite her mothers hidden chagrin. She has fully embraced this rapidly changing society, from her shoes to the Western dresses she wears. Her character seemingly is alienated from her own culture and thus embraces a new one with alacrity This is succinctly summarized in the last shot she appears in,  the recently deceased Manbei's body dominates the foreground and she appears in the background. She bows casually and exits running after her new American interest; the literal representation of the former culture and the new embracing an alternative that is clearly different. However Ozu does not suggest this as a negative thing but merely as expressed by two farmers at the end of the film "The Circle of Life", and to be the happiest you could be, you must accept this.

The cinematography is gorgeous and there is minimal camera movement. Everything is seemingly locked off and the shots are for the most part presented as even level with the actors. Ozu wants us to become one of the family and ultimately feel their tragedy. Another unique and very interesting thing he does, is his near fourth wall breaking position of the camera. At times  he positions the camera  where the actor looks like they are addressing the camera, similar to how Errol Morris conducts his interviews. It add's another level of us being accepted within this culture and the family, as if the members are our own sisters, brothers, fathers, etc...

Within all of these elements the assemble cast is absolutely fantastic and their chemistry together is quite amazing.. In particular the two sisters of Akiko and Noniko. Watching their conversations and scene you feel an incredible warmth  because how intimate and natural their conversations are.  Additionally Manbei does a terrific job as the carefree and lecherous father who rather then conform to standard Japanese society, finds his happiness outside of it. In the end you cannot help but root for the man, which makes his death that much more tragic.

End Of Summer exhibits a post WW2 Japan, a culture and country that was based on isolationism and apprehension of the outside world. This film tries to bridge the gap by using the family as an allegorical drama, the death of the father becoming the death of an old culture. The new culture is seeped in Neon signs, gin drinks, western attire, and new dating practices. All of these elements form Ozu's last film  End of Summer, which also becomes one of his most endearing ones.