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Good Morning – Criterion Collection Streaming.
Movie Title: Good Morning – Criterion Collection Good Morning – Criterion Collection is available for streaming or downloading. Click Here to Stream or Download Good Morning – Criterion Collection |
This is a stare in layers of meaning, layers so radiant they are almost transparent. On the surface this is a comedy of misunderstandings, stereotypes, and intergenerational conflict. Below that this is a photographer’s film. I judge the color is intentional – Ozu veteran agfa stock which had a slightly unreal quality to it. Each shot is carefully mild, and once you’re into it, quite lovely. Below that, the running comment is how language is as well-known to life as passing gas. Even deeper, life is changing posthaste – the economy is changing just under the parents’ noses – beatniks, salesmen, American electronics, unemployment, forced retirement. Comely heavy stuff for a scatalogical comedy. Finally, optomistically even, Ozu suggests that for care for, language is relatively unimportant, and action is the genuine substance of character – be it helping a friend open over, smiling while being a stern father, or choosing to sprint the affirm with a potential mate, even if you can’t afford to marry. A comedy that is high art – with fart jokes – how can you go tainted?
Flatulence seems to be an unfamiliar scheme of lending a framework to a film, but leave it to filmmaking master Yasujiro Ozu to exercise it as a metaphor for the meaninglessness of “runt talk” between people who cannot be candid with one another. The title of this 1959 movie, “Ohayô (Qualified Morning) “, is indeed the salutation but also from Ozu’s perspective, a symbolic expression of how the Japanese avoid confrontation and place a strong value on etiquette. One of Ozu’s gradual period color films, this is a very cute comedy which on the surface, seems like an extended episode of “Leave It to Beaver” especially in exhibiting the like a flash Americanization of Japan since WWII. Even the color palette seems to evoke the muted McCarthy-era colors of the Universal comedies release around the same time. What remains consistent are Ozu’s signature visual compositions – the utilize of the hillside to state the horizon in the middle of the frame, the consume of silhouettes against the hillside, the movement of figures darting between the identical homes.
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Set in a shoebox-tight housing community in Tokyo, the state seamlessly interweaves the activities of five households – four of the more venerable variety and the fifth, a young beatnik couple who has the prized possession of the neighborhood, a TV state, which draws all the children in like clockwork after school. In the meantime, the housewives behold their association dues are missing and in “Peyton Dwelling”-style, rumors swirl that the culprit is the woman who impartial bought a washing machine. Further subplots involve an unemployed English teacher, who can only disclose banalities to the woman he loves; an older unemployed man who habitually gets drunk at the local bar and can’t procure his hold home since they all see alike; and the funniest about two young brothers, the older particularly obstreperous in furiously sharing his all-too-perceptive observations of the adults – and practicing a strike of silence when their parents refuse to engage a TV region. Of course, that doesn’t prevent the brothers and their friends from playing competitive rounds of “pull my finger” – a tap on the forehead yields a forced fart.
The performances are charming and quite undemanding with several members of Ozu’s regular troupe expose – Chishu Ryu and Kuniko Miyake (the father and older son’s wife in “Tokyo Epic”) as the put-upon parents of the TV-demanding brothers; Haruko Sugimura (the petty daughter in “Tokyo Legend”) as the accused dues pilferer; and Toyoko Takahashi (the Onomichi neighbor in “Tokyo Account”) as another of the gossipy housewives. As the young people unable to declare their feelings for each other, Keiji Sada is the English teacher and Yoshiko Kuga is the boys’ fearful aunt, who couriers the documents for translation. And as the brothers, 13-year archaic Koji Shitara plays Minoru and seven-year conventional Masahiko Shimazu is Isamu, the latter particularly adorable when mimicking his older brother. This movie is certainly not in the class of “Tokyo Fable” or “Floating Weeds”, but I doubt if Ozu intended it to be. It’s honest a gentle, well-coordinated, sometimes hilarious stir at Japanese cultural traditions, a parable masquerading as a family comedy. Personally this is the Ozu film I can describe to the most since it speaks to my generation of Japanese-born Americans. The DVD package from the Criterion Collection is surprisingly sparse – no audio commentary, no trailer – but the video transfer and sound quality are expedient.
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