A Criterion release is a mark of quality, sure, but my lack of familiarity with Yasujirô Ozu’s work meant my first viewing of Good Morning was one of those unexpected delights. It’s a joyous, breezy affair that entertains while immersing you in a family, and a community, faced with gossip, theft, romance, and even the creeping allure of consumerism. Oh, and SO many farts.
Synopsis:
A lighthearted take on director Yasujiro Ozu’s perennial theme of the challenges of intergenerational relationships, Good Morning tells the story of two young boys who stop speaking in protest after their parents refuse to buy a television set. Ozu weaves a wealth of subtle gags through a family portrait as rich as those of his dramatic films, mocking the foibles of the adult world through the eyes of his child protagonists. Shot in stunning Technicolor and set in a suburb of Tokyo where housewives gossip about the neighbors’ new washing machine and unemployed husbands look for work as door-to-door salesmen, this charming comedy refashions Ozu’s own silent classic I Was Born, But . . . to gently satirize consumerism in postwar Japan.
The anchor to the film is this delightful battle of wills between brothers Minoru and Isamu (Koji Shitara and Masahiko Shimazu) and their parents (Chishu Ryu and Kuniko Miyake). After seeing sumo wrestling on their neighbor’s TV, decide they need one of their own. Emphasis on the NEED. Denied, they begin a silent strike in protest, employing devious tactics, but bending slightly when necessary, the short term sacrificed in favor of a long term battle. They drag out the playfulness of the conflict to avoid a real serious confrontation. It’s utterly charming, but layered over commentary about generational shifts (the kids favoring English over Japanese) and the onset of consumerism.
The plot extends beyond a squabble over a TV, at times feeling like a series of vignettes, where the friends and neighbors of this family have their own little battles to fight. The mother has issues with another neighbor, Mrs. Haraguchi (Haruko Sugimura), about some neighborhood dues that have gone missing. There are a pair of travelling salesmen going door to door working a con. The boys’ English tutor Heiichiro (Keiji Sada) is besotted with young Setsuko (Yoshiko Kuga). It’s a film immersed in family and community, drawing from gossip, envy, cultural niceties, and simple observational humor. All of these combine to give Good Morning a tangible sense of authenticity.
Yasujirô Ozu’s work is nuanced but incredibly distinct. Often keeping the camera static, he lets his scenes play out. He frames the movie largely from the perspective of the kids using low placed angles, looking up toward adults or employing frontal shots. His direction showcases wonderful shots of Japan, with an impressive attention to detail, emboldened by flourishes of symmetry. It’s an impressive technical approach that, with the narrative, gives the film a distinct voice and charm.
The Package
This Criteron release features a brand new 4K restoration, courtesy of Shochiku Co. It shows natural color and grain, there’s a warmth to the visuals in both interior and exterior scenes. Detail is good, with no problems evident. A great showcase for the film’s quality. Special features include:
- I Was Born, But . . .: The full version of Ozu’s 1932 silent comedy. Running 91 minutes, it’s an edgy and rather entertaining piece that serves as a precursor to Good Morning. There’s a switch in focus to the adults, and the McGuffin is less comedic than a need for a TV. It’s a more moralistic tale that is no less engaging for it. The image quality is a little rough around the edges, but does nothing to take away from its charm. It also features a new piano score from 2008 by Donald Sosin.
- Fragment of A Straightforward Boy: A 1929 silent film by Ozu, newly restored from a 35mm print. Some portions of the film have been lost – only 14 minutes remain – but it’s still a nice addition.
- New interview with film scholar David Bordwell: A broader look at Ozu’s career with some focus on how I Was Born, But… became Good Morning.
- New video essay on Ozu’s use of humor by critic David Cairns: Interesting observations into how comedy, in various guises, are worked into the director’s films.
- PLUS: An essay by critic Jonathan Rosenbaum: The traditional Criterion booklet is included featuring this eloquent piece by the critic.
The Bottom Line
Good Morning is a delight. A quirky look at a family, and indeed community, laid over commentary about the onset of modernization and consumerism in Japan. A package enriched by the inclusion of original silent film that preempted it, as well as a host of other superb extras, making for a thoroughly charming release from Criterion.
Good Morning is available via Criterion from May 16th.