The Emotions of the Characters in the Films of Yasujiro Ozu - Essay Example

Tatami Shots in the Progress of Scenes and the Emotions of the Characters in the Films of Yasujiro Ozu Yasujiro Ozu is among the greatest directors in the history of silent films in Japan and in the world of cinematography (Bordwell & Kristin 388). In his film collection, Ozu has fifty three films, which constitute his first short comedian films and the later films with more serious themes (Wood 112). In his films, the dominant theme is the relationship between generations in marriage and families. Among his outstanding works are Late Spring (1949), Early Summer (1951), and Tokyo Story (1953). In these films, Ozu engaged tatami shots style of cinematography in which he shoot his movies from the position below the eye level of the characters (Wood 122). This technique sensationalized his films and drew the audience to the closest engagement with the characters’ sensibilities by bringing the viewer to the nearest vicinity of the character’s emotions. In this essay, the use of the tatami shots technique will be evaluated by drawing examples from three Ozu films namely: Late Spring (1949), Early Summer (1951), and Tokyo Story (1953). Late Spring (1949) Late Spring (1949) is a drama film directed by Yasujiro Ozu and is based on the short story novella Father and Daughter by Kazuo Hirotsu (Bordwell & Kristin 394). The film is starring Chishu Ryu, an actress who features in almost all Ozu’s films, and Setsuko Hara, another frequent character in Ozu’s films (Wood 119). The most frequently notable aspect of the Late Spring film is the use of tatami shots; a camera technique where the director shoots his actors from an extremely low position. The adoption of tatami shots in the Late Spring film enables the audience to engage with the emotions of the characters throughout the film. For example, the scene in which Noriko visits her friend Aya in her home. In this scene, Noriko is seen in a sitting position and the camera shoots Aya at a slightly elevated position, from which the audience can see Aya looking down towards her friend. The scene is shot in a way that the camera in both pictures is low, but the degrees are different. The shot controls the way the audience should follow and analyze the events in the narrative. Moreover, when Noriko is sitting, she does so looking up at Aya who is standing, but the camera shoots in the reverse order and concentrates on Noriko and, this way, the audience is forced to reject Aya’s point of view. Consequently, the tatami shots in this particular scene deny the viewer a chance of identifying with Aya but with Noriko’s inhuman perspective. These shots, which are all over the film, are a reflection of a view from an individual sitting on a tatami mat (Wood 120). Interestingly, he shoots the same even when the scenes shots are taken from outside. The positioning of the camera, therefore, carries a sense of balance and order and enables the viewers to establish an emotional engagement with the characters. Early summer (1951), Another film in which Ozu used the tatami shots is Early Summer (1951); a post war film that recounts the problems of communication between generations and the emerging women role in post war Japan (Bordwell & Kristin 397). In this film, Noriko lives happily in an extended family, but this balance is threatened by her uncle’s visits and insistence that she should get married. Ozu uses the tatami shots in this film frequently. For example, there is a scene where Koichi and two older women are having a conversation concerning Noriko’s marriage. The long shots in this scene show the three characters staring at diverse points as they talked to each other. The camera would then, at low angles, focus on one of the characters straight on the eyes different from the direction at the long shot. These tatami shots enable the viewer to read into the thoughts and emotions of the character. In yet another scene, where the mother, her daughter and her son are at the table, the characters are shot facing different directions in consecutive shots. Another shot that defies the 180 degree angle is when the mother returns to the normal axis and her back is shot facing the camera. This way, Ozu is able to show us that he was shooting from an unusual position that brought the character closer to the viewer. This positioning of the film elicited a humorous mood throughout the film because the characters are very close to the viewers. The signature of low camera position in this film gives it a delicate and harmonious balance that echoes the duality of the contemporary Japan. The dichotomy in this case is a battle between tradition and modernization, selfishness and altruism, and respect and independence. Tokyo Story (1953) Tokyo Story (1953) is another film directed by Yasujiro Ozu and has tatami shots that distinctly draw the viewer to identify with characters (Bordwell & Kristin 390). The film recounts a story of an aged couple who travel to Tokyo to visit their children (Wood 129). The children pays less attention to their parents, but their sister in-law, Noriko, a window hosts them as required by tradition. The shots succeed in capturing the emotions and reactions of the parents at their children’s lack of time for them are captured in their amazement by tatami shots. In this film, much of the interaction of the characters, which is the main theme in the film, is emphasized and narrated through the tatami shots. For instance, the interaction between the old parents and their children who do not have time for them, and with Noriko who offers them some company when they come to town are well narrated by the tatami shots. Among the tatami shots used in this film is, for example, in the scene where Tomi is advising Noriko to remarry. The camera closes to Noriko and captures her emotional but shy face and then moves to Tomi who is advising her with utmost good faith. As Noriko breaks down in tears, the camera takes the angle at tatami shots that brings her closer as she confesses her loneliness. The emotions of both characters as they part are shown in their eyes as the camera takes them from their closest point. These tatami shots, like many others in the film ensure the viewer is drawn in by the character’s plight and disgusted by certain attitudes by other characters. In conclusion, the three films are examples of a rare style that director Ozu utilized in his films. This style of defying the 180 degree angle was not common in filming during Ozu’s time. It has, however, come to be identified as a unique style that Ozu used to achieve more than the conventional styles of shooting. By the use of tatami shots technique, Ozu was able to fully exploit the theatrical aspect of Japanese dwelling as well as allowing the audience to get the perspective of reverence. Works Cited Bordwell, David & Kristin Thompson. Film History: An Introduction. 2nd ed. New York: McGraw-Hill, 2003. Print. Wood, Robin. “Resistance to Definition; Ozu’s Noriko Trilogy.” Sexual Politics and Narrative Film: Hollywood and Beyond. Columbia: Columbia University Press, 1998. Print. Read More