Internal Conflict in Film“Late Spring”
Ozu Yasujiro films can be described as being very traditional: his characters dress in suits and kimonos, and speak cheerfully and hospitably to each other, all while smiling directly into the camera. They sit on tatami mats and exchange good-humored jokes and updates on their lives over sake. In most of Ozu’s films, the elderly have just as, if not more, prominent roles as the younger characters. They help establish his focus on Japanese families who hold a strong, but quiet dignity in maintaining traditions even after World War 2.
“Late Spring” (1949) is one film that focuses on the marriage tradition in Japan. Typically in their 20s, women are supposed to be married off. Their families play a large role in arranging the marriage, from finding the husband to conducting the ceremony. Noriko (Setsuko Hara), however, doesn’t eagerly follow this custom: she’s around the age where she should be married, but instead, she chooses to happily stay with her loving father (Chishū Ryū). Her aunt’s (Haruko Sugimura) persistence in having her father arrange a marriage threatens to destroy the happy life that Noriko has established.
Noriko tries to avoid the prospect of marriage by creating excuses such as disliking the idea of being arranged to marry someone, or her father needing her for support and personal care assistance. But she cannot avoid the reality and eventually has to take responsibility to uphold the marriage tradition. Participating in the arranged marriage is her duty according to societal standards, whether she likes it or not.
Accepting reality is a harsh process where one wrestles to come to terms with uncontrollable circumstances and attempts to resist the unavoidable. “Late Spring” does not criticize or oppose the marriage tradition, but instead reveals this internal conflict as a disruption in the film’s peaceful atmosphere.
Ozu avoids displays of excess emotion and catharsis in favor of solitary introspection. In part, because of the nature of Japanese culture represented in his films, but also because of the internal nature of the conflicts that his characters face. For Noriko, her unwillingness to accept her social duty is felt through silent tears as she stares despondently off into the distance. This restraint is consistent throughout the entire film, from the settings and the actions of the characters to the static camera shots themselves. The stillness in many of the scenes in “Late Spring” feels akin to meditation, and the ease and austerity with which all of the characters perform their activities convey both delicacy and discipline. A slight disturbance in this Zen-like balance becomes prominent and creates tension. Consequently, maintaining homeostasis makes Noriko stubborn to undesired changes, while also controlling the way she expresses her emotions.
As arranged marriages aren’t really common in America. A more relatable comparison for young viewers to understand would be going off to college or leaving home to find a job. American society has its own tradition where children around the age of 18 are supposed to leave their parents and be independent. The idea of independence can be both exciting and daunting, and distressing for those who feel unprepared or have no desire to leave home. Yet, independence is necessary as parents can’t be expected to take care of their children forever. Some recently independent adults may struggle in the same way Noriko does in accepting their new responsibilities.
Admittedly, the quietness and minimalism in Ozu’s films can make watching two hours of it feel slow and dull. Although, his films gracefully portray the quiet demeanor of Japanese families and the ideals of their culture. Because they require some degree of patience and calmness from the audience, in effect, the behavior and internal emotions of Ozu’s characters transfuse from the screen into the real world, allowing the viewer to partake in the characters’ self-reflections.
