Early Summer (1951)

It's a cliché to say that Ozu is the master of capturing the everyday details of family life. Yet, it's true, and Early Summer reminds me of what a perfect sense for drama Ozu has: he highlights deep-going tensions, without overstating his case. Like other of his films, the story is set in a society that goes through drastic changes. Noriko is the single woman living with her parents, her brother and his family. They all think that she has reached the age at which she must find a husband. Noriko has an office job and hangs out at cafés with her friends: she seems to enjoy life. Her parents grieve the death of the son they lost in the war and they place high hopes upon Noriko that she will finally settle down. Her boss has find a suitable match, a wealthy business-man, a few years older than her. A brilliant move from Ozu's side is that we never get to see this suitor. Rumors, pictures and talk take the place of the real guy - for a film that to such a great extent revolves around images (the image of the right life) this is really such a wise cinematic choice.

The film gently shows how well-meaning intentions can be oppressive. Noriko's brother epitomizes the old society: he wants things to be as they always have been and all the time there is a disgruntled look on his face. He's working all the time and at home he spreads an air of worry. Their parents are thinking about moving away to the country, but not until their daughter is married off. Their relationship is depicted as loving, yet also filled with quiet sorrow. Conflicts are played out in an almost gentle way. Noriko is not the type of person who confronts her family with fierce opposition. This does not mean she chooses her own path. Many issues surrounding love relations are merely touched on. There is a sub-plot about a suspicion that Noriko might fancy women. Perhaps she has a relationship with her friend Aya. At least, they form a sort of alliance against their married friends. It is not clear how one should understand the end. One could say that Noriko chooses her own path, marrying a widower she feels comfortable with. Her parents are not immediately happy about this solution. One could also describe what happens as submission.  

When one reads about Ozu's film one sometimes gets the impression that he makes very austere films. That is perhaps right but what one then forgets is the humor they showcase. In Early Summer, for example, Ozu has included the two most terrible pair of kids on the planet, and he allows much space to their rambunctious play. This is also a film of contrasts. We see glimpses of hip Japan on the one hand - the modern office and the relaxed space of the café - and the intimate and sometimes intimidating family surrounding. Noriko belongs to both of these spheres and by watching her demeanor in  various relational settings, we see different angles of for example ideas about marriage as they appear in a boss-employee relation, among family members or among close friends. Ozu's reputation of being a chronicler of the home should not be exaggerated. Early Summer features many beautiful scenes that takes the character to the beach. In one of them, we see Noriko running with her supposed sister-in-law. There is so much wistfulness and happiness in that scene.