NR | 2h 5m | Drama | 1951
Japanese cinema profoundly influenced Western audiences, shaped by the artistry of master filmmakers such as Akira Kurosawa, Kenji Mizoguchi, and Yasujiro Ozu.
Kurosawa’s sweeping epics introduced a dynamic blend of universal themes and Japanese cultural identity, captivating global audiences and reshaping cinematic storytelling. Mizoguchi’s poetic visual style and Ozu’s intimate explorations of family life revealed the depth and diversity of Japanese life, offering perspectives that resonated far beyond Japan’s borders.
While Kurosawa is perhaps the most recognizable Japanese director in the West, Mizoguchi and Ozu contributed equally to the medium’s evolution. Mizoguchi’s lyrical long takes and evocative framing brought a painterly beauty to his tales of societal constraints and personal sacrifice, while Ozu’s understated yet intricate narratives delved into the quiet struggles of ordinary life.
What distinguishes “Early Summer” from other family-themed films is its seamless integration of storytelling with the rhythms of everyday life.
Noriko’s Journey
The film follows Noriko Mamiya (Setsuko Hara), a 28-year-old woman living in Tokyo with her extended family. Her parents, Shukichi (Ichiro Sugai) and Shige (Chieko Higashiyama), are delaying their retirement to the countryside in order to stay close to Noriko until she marries.Noriko’s brother, Koichi (Chishu Ryu), is a doctor married to Fumiko (Kuniko Miyake), and they have two young sons. Despite the family’s close bonds, Noriko feels the pressure of cultural expectations to marry, as her unmarried status at her age becomes a central concern for them.
Things reach a flashpoint when an elderly uncle visiting also brings up Noriko’s age and single status; this sparks a series of well-meaning yet persistent discussions about her future. Her boss, Satake (Shuji Sano), tries to match her up with a middle-aged businessman who seems to be a great catch. Though the family encourages the union, Noriko remains uninterested in the idea.
Her lack of enthusiasm for marriage highlights her internal conflict between fulfilling family expectations and pursuing personal goals. This tension between duty and desire forms the heart of the film, with Noriko often escaping from these discussions with nervous giggles, like an octopus squirting ink to flee from danger.
Timeless Relatability
As the film progresses, the focus shifts from the family’s light-hearted attempts to arrange Noriko’s marriage to a deeper exploration of her internal conflict. The film culminates (no spoiler) in a moment that captures the evolving relationships within the family and the passage of time. This showcases Ozu’s deft handling of universal themes of family, duty, and personal freedom through his subtle, observations.
Considered one of Ozu’s masterpieces, “Early Summer” exemplifies his distinctive approach to storytelling—restrained yet emotionally resonant. The film explores universal themes such as family, change, and the struggle between personal aspirations and familial obligations, earning critical acclaim for its depth and sensitivity.
While Ozu’s films were initially overlooked in the United States due to being perceived as “too Japanese,” the themes at the heart of “Early Summer”—the tension between personal happiness and family obligations—are universally relatable.
Ultimately, “Early Summer” is a powerful example of Ozu’s mastery in exploring the delicate balance between personal choice and familial duty. His understated storytelling, coupled with his deep understanding of human nature, ensures that it will remain a timeless and influential masterpiece, continuing to inspire filmmakers and audiences worldwide.
