Paul Schrader calls Ozu's films 'transcendental' cinema. But then he's a (creative) writer, not a theoretician, and does not actually define his terms, saying rather what they are not. The blurb on the back of the book is somewhat more helpful, saying in part, '... the transcendental style expressed a spiritual state with austere camerawork, acting devoid of self-consciousness, and editing that avoids editorial comment'.
I don't know what a 'spiritual state' is, nor how you can tell an actor is not self-conscious (as it's internal). Maybe I should know by know what 'editorial comment' might be, but I don't (yet).
So for me, this is just a very simple story told in a straightforward way, and it's one of my favourite films.
Noriko is twenty-seven years old and still living with her widowed father. Everybody tries to talk her into marrying, but Noriko wants to stay at home caring for her father.
Chishu Ryu, Setsuko Hara
There is a backstage story. Setsuko Hara herself never married, and never made another film after Ozu died.
Banshun (Yasujiro Ozu, 1949) aka Late Spring
Schrader, Paul 1972, Transcendental Style in Film: Ozu, Bresson, Dreyer, Da Capo Press.
Garry Gillard | New: 11 March, 2017 | Now: 20 March, 2017