BFI: 32 Ozu Films

[Awesome Welles]

The low price is what justifies this decision in my mind. If they include Tokyo-Ga as an extra in the Tokyo Story set, this will be the bargain of the year!

Already out.

[perkizitore]

I am aware of this set, but i didn't think that it could prohibit Tokyo-Ga's inclusion as an extra #-o

[MichaelB]

I am aware of this set, but i didn't think that it could prohibit Tokyo-Ga's inclusion as an extra #-o

It depends on the contract between Axiom and (presumably) Wim Wenders' production company, though there's every likelihood that they have an exclusivity period that won't have expired yet.

In any case, come on - you've got a complete supporting feature on Tokyo Story, and a very rare one at that - what more do you want?

[perkizitore]

No, i am more than grateful and especially at this price! Tokyo-Ga it's not a deal breaker for me, but it would be a lovely addition.

[Finch]

(actually, I might just have to hold on to Early Summer and wouldn't mind owning three copies of it as it is my all-time number 1 favourite film anyway)

What is it you particularly like about that film? As it grabs me less than most Ozus, I'm genuinely interested and not trying to be contentious

Each to their own Jonathan. I will say that Early Summer's finale is admittedly not quite as emotionally devastating as Tokyo Story and Late Spring especially but it strikes me personally as a more perfect film overall than either Tokyo Story or Late Spring. Again, I have seen Late Spring only three times so far (as soon as the Crit came out) but somehow I find this a more difficult film to get involved in than many other Ozus but this may change over several more viewings. Tokyo Story I find a little melodramatic whereas Early Summer strikes a perfect balance of light humour and melancholy. It also has several scenes that I count among my absolute favourite moments in Ozu's oeuvre: think of the scene where the parents are sitting in the park and spot a balloon that reminds them of their lost son; the sequence where Grandpa has to wait for the train to pass by and sits down by the road and the expression on his face is so serene; it never fails to move me. There's so much more to this film that resonates with me but these are just two examples on the top of my head. Ozu is my favourite director and I love most of his films to varying degrees but Early Summer is the one standout for me.

[ellipsis7]

BTW re. the packaging of these 6 films, I can understand the logic - with 32 films singley released on separate BR & DVD packages, that's 64 individual releases to get out, pair up them in dual format releases then that's 32, however add a second feature on the DVD, that's only 16 releases you have to put out - makes huge economical sense, and persuades previous Criterion & Tartan customers to double dip, both for the 1080P main feature and for the rare second feature..

[perkizitore]

I wish that they put out 16 blu-rays, we will have to wait and see.

[zedz]

Each to their own Jonathan. I will say that Early Summer's finale is admittedly not quite as emotionally devastating as Tokyo Story and Late Spring especially but it strikes me personally as a more perfect film overall than either Tokyo Story or Late Spring.

I'm with you on this. Ozu at the height of his powers, spinning an extremely delicate (and moving, and funny) narrative that's extraordinarily detailed and complex. Just look at the way he juggles so many characters and relationships without shortchanging any of them. Some of the film's significant characters don't even appear on-screen. There's so much crammed into this film so effortlessly that each visit reveals more nuance. Not to downplay the achievement of those other two acknowledged masterpieces, but I find what Ozu's doing in this film quite distinct and just as brilliant.

[MichaelB]

BTW re. the packaging of these 6 films, I can understand the logic - with 32 films singley released on separate BR & DVD packages, that's 64 individual releases to get out.

Never in anyone's wildest dreams were there going to be 64 individual releases! You'd have to be utterly insane not only to attempt HD transfers of the silent and early sound shorts but release them individually in separate DVD and Blu-ray editions! Or rich enough to be able to take a serious financial hit.

You've seen how things are shaping up now - the likelihood is that this pattern will continue, with a Blu-ray transfer of a well-preserved feature accompanied by a DVD transfer of a ropier one. But this does depend on whether materials of sufficient quality exist to fuel 16 Ozu Blu-rays, and the jury's still out on that.

[Tommaso]

Given the rather rough state that "Tokyo Story" is in on the CC disc, does that mean that the BFI disc will come from much better elements?

[fiddlesticks]

I am really pleased with what the BFI have planned, it's perfect for any consumer as far as I am concerned. I find it hard to believe that everyone who is HD ready has a blu-ray player and HD TV in every room therefore the back up DVD of the main feature is a real bonus.

I suppose that's true in the abstract, but I've had the Tartan Seventh Seal Blu-Ray/DVD combo for over a year and a half and I'm quite sure I've never had occasion to play the DVD. It has effectively no value for me.

FWIW, I am also a huge Ozu fan, and like Mr. Finch, my favorite is Early Summer.

[Jonathan S]

Thanks for the replies on Early Summer, especially Mr Finch. I may give the Criterion another spin before the BFI is released. I re-watched it with the commentary some years ago (almost the only DVD commentary I've ever listened through to the end) but not since. It may be the apparently lighter nature of the film that it makes it more difficult for me to get to grips with - I tend to favour dark/heavy films generally and my favourite Ozu of all I've seen is Tokyo Twilight (and the one that does almost nothing for me, though I've watched it several times, is Good Morning). Also zedz's comment, "Some of the film's significant characters don't even appear on-screen" may be a pointer to something that I find quite literally elusive about it!

For me, Ozu is often the most difficult of Japanese directors to appreciate. It isn't that I don't value subtlety (Renoir is my top director) but maybe something to do with the similarity of style and themes, especially in the later films. Family and marriage, especially in the conventional heterosexual sense, have little role in my life, so maybe that's one reason I find them harder to relate to (not that I'm suggesting Ozu's concerns are limited to those subjects!)

[Finch]

Family and marriage, especially in the conventional heterosexual sense, have little role in my life, so maybe that's one reason I find them harder to relate to (not that I'm suggesting Ozu's concerns are limited to those subjects!)

Family doesn't play a significant role in my life either (I'm married to another gay man and we have no desire to adopt kids etc) and with other directors, this subject might not appeal to me or involve me as much, but with Ozu, it keeps me enthralled from start to end. Interesting you mention Tokyo Twilight since it's possibly my favourite of the more bleaker and darker Ozus despite it being, purely in terms of plot, the most obviously melodramatic one. My first exposure to Ozu was The End of Summer and I'd agree with Donald Ritchie's assessment that it's possibly the darkest picture Ozu made but the finale strikes me as flawed, if only for the cameo of two of his best known actors as wise fishermen - that moment always seemed a bit didatic to me. Anyways, the BFI's line-up is a mouthwatering prospect although I'd second the pleas for a change to the artwork. I like the stills the BFI has chosen (can't go wrong with Setsuko Hara) but I'd take the colours out, and I'd mention the second film on the front rather than just mention it in the specs on the back. Just a thought!

PS.: Renoir is on my favourite directors list as well; my own favourite would be La Bete Humaine and the short Partie De Campagne (wasn't this rumoured as a Crit title?)

[ellipsis7]

BTW re. the packaging of these 6 films, I can understand the logic - with 32 films singley released on separate BR & DVD packages, that's 64 individual releases to get out.

Never in anyone's wildest dreams were there going to be 64 individual releases! You'd have to be utterly insane not only to attempt HD transfers of the silent and early sound shorts but release them individually in separate DVD and Blu-ray editions! Or rich enough to be able to take a serious financial hit.

Yes, obviously Michael, but working through such an exercise, as someone must have, shows how you arrived at the present solution to deal with a large number of films to be put out there on digital disc... Indeed until very recently there were single DVD releases of the first 3 films plus a single Blu for TOKYO STORY, posted @ Moviemail - that's 4 individual releases for 3 films, which now has morphed into 3 individual releases covering 6 films... Presumably also as part of the exercise too, BFI Publishing considered putting out DVD box sets of say 'Ozu Silents', but apparently passed on that idea...

Personally I am more than pleased with the present twin set solution of Blu+DVD set with the extra rare film... Kills several birds with one stone etc.... Suits entirely and I'm eyeing up the 3 Panorama discs of the extra films on my shelf, that now can be replaced with shiny BFI twin sets, with 3 Ozu Blus to tingle and tantalise on the big screen!

[Sloper]

It may be the apparently lighter nature of the film that it makes it more difficult for me to get to grips with - I tend to favour dark/heavy films generally.

I used to feel exactly the same way about Early Summer, but on re-watching it it seems every bit as sad as Tokyo Story or Late Spring; the scene where Noriko is persuaded into her choice of marriage partner, and the following scene where the mother tells her son the good news, coupled with the aghast reaction of Noriko's family (and her bursting into tears towards the end) - well I can't think of any way to sum up what it's about, but it tears my heart out. And yes, the scene with the balloon is another highlight - as are the very small number of lovely tracking shots (if I remember rightly, there are several points where one shot tracks into the next, quite seamlessly).

[artfilmfan]

PS.: Renoir is on my favourite directors list as well; my own favourite would be La Bete Humaine and the short Partie De Campagne (wasn't this rumoured as a Crit title?)

Partie de Campagne was confirmed by an e-mail from Jon Mulvaney. I hope the recent development regarding the rights to the StudioCanal films going to Lionsgate does not affect Criterion's plan for Partie de Campagne. Also, if Criterion releases it, I hope it's on Blu-ray as well. It's one of my all-time favorite films.

Getting back to Ozu ... I do hope that BFI's plan on releasing each set with two films holds up. Those extra films in the sets make the purchase of these releases very tempting. And yes, the colors on the covers need to be taken out.

[Jonathan S]

Interesting you mention Tokyo Twilight since it's possibly my favourite of the more bleaker and darker Ozus despite it being, purely in terms of plot, the most obviously melodramatic one.

To be honest, it's probably the melodrama that appeals most to me, as with Tokyo Story. I've always loved melodrama - literally drama with music or song of course - from opera and silent films to Tod Slaughter vehicles! For me it's one of the noblest genres. I think it gives a very strong framework to which can be added many subtle touches that, by contrast, are all the more effective.

I hope when Criterion release Partie de Campagne we'll get all the outtakes on the French edition (more than the BFI) and perhaps Le Dejeuner sur l'herbe, an obviously related film.

[ellipsis7]

I hope when Criterion release Partie de Campagne we'll get all the outtakes on the French edition (more than the BFI) and perhaps Le Dejeuner sur l'herbe, an obviously related film.

That compilation of outtakes from the French Studio Canal disc of PARTIE DE CAMPAGNE...

2. Un Tournage à la Campagne (1’25’32) : Ce documentaire chapitré en 23 segments est issu d’un projet conçu par la Cinémathèque Française après que Pierre Braunberger ait déposé l’ensemble des rushes dont il disposait en 1962. Le montage réalisé en 1994 par Alain Fleischer fut présenté en ouverture du centenaire du Festival de Cannes. On y découvre quelques scènes coupées et de nombreuses prises non gardées. Ces images passionneront les admirateurs du film qui y verront Georges Darnoux bafouiller et éclater de rire devant la caméra ou entendront Jean Renoir diriger, encourager et féliciter ses comédiens. Notons que l’on retrouve ici la majorité des images de la seconde partie du supplément ‘Les Essais d’acteurs’.

...will be on the upcoming Madman Australian DVD due on 17th March...

DVD Special Features

Un Tournage à la Campagne - a feature length documentary on the making of the film
La Direction d'acteur par Jean Renoir - a revealing demonstration of Renoir’s working method
Audio Commentary by Anna Dzenis, Lecturer in Cinema Studies, La Trobe University and Rick Thompson, Senior Lecturer in Cinema Studies, La Trobe University
Insert booklet by Ian Johnston, film writer whose work has appeared in THE FILM JOURNAL and BRIGHT LIGHTS FILM JOURNAL

[Finch]

Not wanting to derail this thread any further but the R4 looks like a must-have. If the likes of davidhare or any other Aussie members could confirm A/V quality or point us to forthcoming reviews, that'd be much appreciated. Normally, I'd be reluctant to spend $35 on a short film but the feature-length extras would seem to justify the price. To anyone who's got the French disc, is the material in good enough shape to be considered for Blu?

[artfilmfan]

Yes, the material used for the main feature on the Studio Canal release looks to be in a remarkably good shape. The image looks clean and beautiful throughout (but lacks the sharpness of a high-def transfer). There are a few scenes that have coating of whitish noise which I think can be removed. I think it will look incredibly lovely on Blu.

[MichaelB]

Sorry, but do you think this discussion could be moved elsewhere? The last three posts have absolutely nothing to do with Ozu (even tenuously), and I'd rather this very busy thread remained Ozu-specific.

After all, it's not as though there aren't plenty of Studio Canal threads to choose from!

[What A Disgrace]

Considering Story of Floating Weeds looks comparatively impeccable, I wonder what the chances are of it being a (perhaps the sole) silent film to be released on Blu.

Michael (Kerpan or Brooke!), in your personal opinions, which Ozu films are in good enough shape to warrant a 1080p transfer?

[MichaelB]

Sorry, not my area of expertise at all, I'm afraid. But you can rest assured that all the Ozu materials are being thoroughly examined to see which justify a Blu-ray transfer.

[Peacock]

So can anyone complete a list of which the 16 main features (and possible Blus) shall we?

Tokyo Story
Early Summer
Late Spring
Tokyo Twilight
Late Autumn
Good Morning
Equinox Flower
Early Autumn
Early Spring
An Autumn Afternoon
Record of a Tenement Gentleman
The Flavor of Green Tea Over Rice
A Hen in the Wind

Those are my guesses so far but that only makes 13. Perhaps we can score off Hen in the Wind seeing as it wasn't a Tartan or Criterion, and presume that'll be an SD like the rest, leaving 20 SD films.

[fiddlesticks]

Well, at a minimum, Floating Weeds should be on that list. I'd also guess There Was a Father and The Only Son, although I couldn't guess whether these are in good enough condition for Blu-ray treatment.