
An Autumn Afternoon(1962)
Shuhei Hirayama is a widower with a 24-year-old daughter. Gradually, he comes to realize that she should not be obliged to look after him for the rest of his life, so he arranges a marriage for her.


“Important things are hard to say.”
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 color 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.

Keiji Sada
Heiichiro Fukui

Yoshiko Kuga
Setsuko Arita

Chishū Ryū
Keitaro Hayashi

Kuniko Miyake
Tamiko Hayashi

Haruko Sugimura
Kikue Haraguchi

Kōji Shitara
Minoru Hayashi

Masahiko Shimazu
Isamu Hayashi

Kyōko Izumi
Midori Maruyama

Taiji Tonoyama
Pushy Man

Toyo Takahashi
Shige Okubo
Good Morning is a comedy, family, drama film released in 1959 exploring themes of japan, parent child relationship, brotherhood, protest, inflation, consumerism. Directed by Yasujirō Ozu, it stars Keiji Sada, Yoshiko Kuga, Chishū Ryū. 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 color 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.
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