Product Description

A nuanced examination of a family falling apart, Early Summer tells the story of the Mamiya family and their efforts to marry off their headstrong daughter, Noriko, played by the extraordinary Setsuko Hara. A seemingly simple story, it is among the director's most emotionally complex. The Criterion Collection is proud to present one of Ozu's most enduring classics.

Product Details

• Amazon Sales Rank: #20888 in DVD
• Brand: Image Entertainment
• Released on: 2004-07-20
• Rating: Unrated
• Aspect ratio: 1.33:1
• Formats: Black & White, DVD, Full Screen, Special Edition, Subtitled, NTSC
• Original language: Japanese
• Subtitled in: English
• Number of discs: 1
• Running time: 124 minutes

Amazon.com
Like any of Yasujiro Ozu's best-known films, Early Summer is a marvel of cinematic simplicity, revealing layers of depth through multiple viewings. It may seem at first that Ozu's family tale is too simple, but looks are deceiving, and closer study reveals an intensely structured, highly formalized example of Ozu's transcendental realism, focusing on the dilemma of 28-year-old Noriko (played by the immensely popular Setsuko Hara), whose late-breaking decision to marry sends unexpected shock waves through three generations of her close-knit family. While providing a vivid portrait of liberated womanhood in post-war Japan, this lighthearted yet quietly devastating drama also serves as a gentle study of tradition vs. modernity, and a clash between conformity and independence. It's also a triumph of DVD-as-film-school: As he did for Criterion's release of A Story of Floating Weeds, the distinguished scholar Donald Richie provides an eloquent full-length commentary as valuable as the film itself, thoroughly exploring the purpose of Ozu's low-angle style, the influence of Ernst Lubitsch, the importance of Setsuko as a role model for Japanese girls, stylistic comparison to Jane Austen's fiction, and a variety of other relevant topics. "Ozu's Films from Behind the Scenes" gathers three of Ozu's longtime collaborators for affectionate reminiscence, and mini-essays by Ozu expert David Bordwell and long-time Ozu admirer Jim Jarmusch lend further appreciation from critical and personal perspectives. This is Criterion's fifth Ozu release on DVD, and like the others, it's highly recommended. --Jeff Shannon

Customer Reviews

A pleasant vignette - marriage and a woman's right to choose
The more Ozu films I watch, the more I fall in love with the simplicity and elegance of his storytelling. Like all his work, "Early Summer" ("Bakushu") is a beautiful snapshot of the human experience, in this case a 28-year old woman being pressured by her family to marry and balancing her own happiness with the happiness of those around her.

The tone of the film, like the weather in the title, is light and happy like a soft gentle early summer breeze. Whimsical and joyful, even while dealing with a potentially heavy subject.

Arranged marriages (O-Miyai) are still practiced in Japan today and were much more common when "Early Summer" was made in 1951. In the cases of women like Noriko (Setsuko Hara), who at 28 would be considered almost an old maid, if she hasn't found a love-match by now, it is best to arrange a marriage before she becomes too old for anyone to take her. However, Noriko is a modern woman, with ideas for her own happiness as her family will soon find out.

Ozu's simplicity is never boring, and Setsuko Hara is so completely charming that her smile can carry any story. "Early Summer" utilizes many of Ozu's principle actors, and Chishu Ryu is on hand as Noriko's older brother Koichi, although he would play her father two years later in "Tokyo Story."

Criterion's presentation of "Early Summer" is every bit the jewel you would expect it to be, with Ozu-expert Donald Richie supplying the commentary track, and a documentary called "Ozu Films from Behind-the-Scenes" detailing his working methods and camera techniques.

Classic Ozu Film
Early Summer is a variation on a seemingly perennial Ozu theme, namely, a family trying to arrange a marriage for a daughter and the daughter showing she has a mind of her own. The idea of an arranged marriage ("omiai" in Japanese) may seem strange to Western viewers. But they were quite common in Japan when this movie was made. The film centers around the character Noriko, played by Setsuko Hara (who interestingly was called the "eternal virgin" by her fans). Noriko is 28 and still single. Her boss finds a potential husband and her family gets all excited. But Noriko balks at the arranged marriage. What she eventually decides to do will likely surprise you. Keep in mind that Japan was in a period of transition when Early Summer was made. Many of the old ways, including arranged marriages, were being challenged by the younger generation.

What I enjoy most about watching this and other Ozu films is the focus on character rather than plot. We really get to know the people in this movie, as if they were members of our own family. Setsuko Hara gives an outstanding performance as the sweet but rebellious Noriko. This film is a good introduction to Ozu for people who've never seen any of his movies.

UPDATE: People who may have been hesitant to purchase this movie because it's only on VHS will be pleased to know that Criterion has acquired the rights to several Ozu classics, including Early Summer, Tokyo Story and Floating Weeds. According to a recent Criterion press release, the first DVD release of these titles is scheduled for the fall of 2003.

Comically Shrewd Ozu Classic on the Liberated Japanese Woman
Having just enjoyed the quiet brilliance of Yasujiro Ozu's "Tokyo Monogatari (Tokyo Story)" for the first time last week, I was immediately drawn to another Ozu film released by the Criterion Collection last year, 1951's "Bakushu (Early Summer)". Both movies are part of his classic Noriko trilogy which uses many of the same actors playing characters with the same names but in different roles. Consequently, the great Setsuko Hara portrays a young woman named Noriko in both movies, but this time, she is the liberated daughter (rather than the forlorn daughter-in-law) and also the focal point of the story (rather than the aged parents in "Tokyo Story").

The musical chairs continue with Chishu Ryu playing his real age as Noriko's strong-willed brother Koichi (rather than the resigned grandfather) and Haruko Sugimura playing older as neighbor Tomi, the mother of Noriko's prospective fiancee (versus the conniving daughter Shige). Chieko Higashiyama still plays the grandmother, but her name is not Tomi but Shige, and her husband Shukishi is portrayed by Ichiro Sugai. It's only confusing if you are looking for some kind of plot continuity between the films, but Ozu is primarily interested in reinforcing similar themes of the evolving family unit in post-WWII Japan. This time, he does it in a more comic, sometimes even ribald fashion, and while it doesn't resonate quite as deeply as "Tokyo Story", "Early Summer" is full of Ozu's shrewd observations and insights that make it emotionally affecting, especially as the story takes a surprise turn toward the end.

The story here centers on the Mamiya family, who are trying to find a suitable husband for 28-year old single daughter Noriko. As typical in Japanese culture, several generations live together under one roof, and a frequent subject of conversation is Noriko's lack of a husband. However, she is a member of the new postwar breed of Japanese women. She dresses almost exclusively in Western clothes and holds down an administrative position in an office in the heart of Tokyo. In spirit, Noriko bears a strong resemblance to Elizabeth Bennett in Jane Austen's "Pride and Prejudice", a point raised by film historian Donald Richie on his informative commentary. She loves to go to dinner with her girlfriends. Of the four friends, two are married and two are unmarried. In a particularly amusing scene, the four have a spirited debate about the pros and cons of married life versus single life.

Noriko is happy with her life as it is and doesn't seem to be too concerned with changing it anytime soon. Nonetheless, the family attempts to fix Noriko up with a successful, 40-year old business associate of her boss. Although polite about the matchmaking effort, she becomes more interested in her neighbor, an old classmate now widowed and left alone with a small daughter and his mother. Noriko prefers that her potential husband is an old friend and that they will slip into their new romantic relationship more easily than two complete strangers. The bigger problem, though, is that she makes her decision without consulting with her family and that's where the familial conflict arises.

Hara continues to be a revelation to me, a beautiful, charismatic actress who radiates goodness and a sense of cunning mischief that is entrancing. The supporting performances are excellent with Sugimura again a standout in a surprising turn as the mother grateful to Noriko for her decision to marry her son Kenkichi. Kuniko Miyake has a bigger, more dimensional role here than in "Tokyo Story", playing yet again the brother's wife Fumiko. She and Hara have a particularly lovely scene on the beach at the end of the film, and the two have a pretty funny scene where they hide their clandestine cake slices from the somnambulant child.

Chikage Awashima portrays Noriko's best friend Aya with feisty charm, goading Noriko to see the man she passed up, impersonating a country bumpkin to preview Noriko's new married life and trading innuendo-heavy barbs with Noriko's politically incorrect boss. This latter interchange is surprisingly adult for 1951, as they even joke that Noriko may be a lesbian for waiting so long to get married. The children play more prominent roles here, and Ozu really plays up their bratty insubordination as they hurl inappropriate epithets when they don't get their way, though their running away from home is the catalyst for Noriko to become attracted to Kenkichi.

Yuuharu Atsuta provides the beautiful cinematography, which is gratefully captured in a fairly pristine print of the film, though I have to believe Ozu is the one most responsible for the simple yet powerful scene compositions. His now familiar low-to-the ground camera angles are used consistently in the film to replicate the perspective of someone sitting on a tatami mat. Lighter and more loosely structured than "Tokyo Story", "Early Summer" is essential viewing for Ozu aficionados and anyone interested in post-WWII Japanese society. Along with Richie's thorough commentary, the DVD package also includes a 47-minute documentary, "Ozu's Films From Behind the Scenes", which includes a table discussion with Ozu's longtime cameraman Takashi Kawamata, his sound and editing assistant Kojiro Suematsu and producer Shizuo Yamanouchi who produced six Ozu films.