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Late Spring (1949). The first of Ozu's Noriko "trilogy," it seems more its conclusion that its opener. No matter, this flick is yet another example of the mastery of Ozu's film making prowess. The story itself is a slow burner, and the magic derives from the gentle unraveling of the plot. Life does not just go on, but life must be lived though its changes, and to stifle change is to disrupt life itself, even if grief and loneliness loom under the threat of change. The acting was subtle and understated, and wonderfully so. The direction and camera work together in unity to allow the story to flow at its own paced, slow and methodical, artistic and highly symbolic. The ending- and unavoidable and noble tragedy that is the living of life. Merci beaucoup.
Genruk'
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Fate is my mistress, mother of the cruel abomination that is hope.
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