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 (Rating: 5.00)
Review : 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.

Ozu in peak form (Rating: 5.00)
Review : Early Summer is a classic Ozu piece, and will probably rank as one of his best works. A sensitively rendered portrait of an "old maid" under severe pressure from her family to get married, Setsuko Hara gives a heartbreaking performance in this beautiful, subtle, elegant and witty piece set in post-world war II Japan. Although the film does suffer from a few editing problems, it represents the world's greatest humanist director at the peak of his craft, producing a lovely, stirring, emotional drama. An absolute must for Ozu fans, and for all others, just check this one out (much cheaper than all the New Yorker Ozu videos)first to see what you are missing. Superb!

now my favorite (Rating: 5.00)
Review : Ozu is a aquired taste to be sure. If you just open yourself to the quiet beauty of the film, you will be rewarded.

The "trancendent moment" here is the future mother-in-law arranging the marriage directly with Noriko. She regains her social position, makes her family whole, makes a mother for her grandaughter and a wife for her still greiving son, by breaking through the codes of politeness and indirectness.

It is a moment of modernity in a culture caught in-between. It is a moment of total change for perhaps a dozen people, but it is not a crisis or a catharsis - just the opposite.

Films do not have to Thrill and Manipulate (E.T. anyone?) to have a lasting profound effect on your life. Some great art is almost invisible......

"The Paradise of cinema" (Rating: 5.00)
Review : Among all the at least 12 filmy by Ozu, Ilove very much, Bakushu is my favorite. It was always nonsens that Ozu made always the same film, but Bakushu has something special. At first its storytelling composed of anedotes and episodes. More than other films by Ozu, Bakushu seems to consists on a big number of HAIKUS (japanese short poems), one agter another. In all respect - there are very few like Ozu in the history of cinema. The decentralism of his storytelling can be found mostly in asian and especially japanese cinema. And the paradoxon of Bakushu is that its narrative style seems to be rather non-conventional for 1951 but on the other side, this film is Ozus most charming and most accessible film. Bakushi is exactly the "Paradise of Cinema" how Wim Wenders called the work of Ozu