Black
and White . 83 minutes
Shochiku Ofuna Studio
Written By
Ozu Yasujiro ('James Maki')
Ikeda Tadao
Arata Masao
Cinematography
Sugimoto Shojiro
Music By
Ito Senji
Cast
Iida Choko (Nonomiya Otsune)
Himori Shinichi (Ryosuke)
Hayama Masao (Ryoichi as a child)
Tsubouchi Yoshiko (Sugiko)
Yoshikawa Mitsuko (Otaka)
Ryu Chishu (Okubo)
Naniwa Tomoko (Okubo's Wife)
Kozo Bakudan (Okubo's Son)
Tokkan Kozo (Tomibo)
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Synopsis
Otsune is a widow raising her only son Ryosuke
in rural Shinshu. One day, Ryosuke's teacher Okubo
pays Otsune a visit, asking permission to take
Ryosuke to Tokyo to continue his education. At
first she refuses but later agrees, and sells
her land to go and work in a silk factory to support
him. 13 years later, she visits Ryosuke in Tokyo,
and discovers that instead of the roaring success
they'd both hoped for, he is a mere night school
teacher, living in an outskirt slum with his wife
and baby. Ryosuke borrows money to treat her,
but when his neighbor's son is injured he gives
them the money. Otsune tells Ryosuke she is proud
of him and returns home.
Thoughts from Ozu
This is the first talkie I directed. The plot
was adapted from my finished script for Tokyo
is a Nice Place, which was partly filmed,
then canned in order to refashion it into a talkie...
By then, the set had been relocated to Ofuna,
but since I was using Mohara Hideo's sound system,
it was not compatible to facilities at Ofuna.
As a result, we had to shoot in the deserted Kamata
studio. The din of trains nearby kept us from
shooting in daytime, so we worked from 12 midnight
to 5am, sticking to our schedule of five shots
per night. We were in high spirits. However, ingrained
ways of making silents cannot be changed overnight,
so glitches were inevitable. Even though I was
well aware that talkies were a totally different
ballgame, I couldn't help slipping back into style
of silents. I was worried that after being four
or five years behind others, I would never be
able to catch up. However, now I realize how useful
my persistence in making silents was to my future
development.
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Background
The
36th film, shot from April to September of 1936.
On January 15 of this year, Shochiku closed its
studio in Kamata and moved to the new Ofana studio,
which was opened on January 16. The contract between
Shochiku and the Dobashi Sound System ended at
the end of the previous year. However, while the
cooperation with Dobashi continued without any
problems, Ozu decided without further ado to use
the Mohara system. Overt this, the Dobashi side
stiffened its attitude and walked out. Through
the mediation of Kido Shiro, the affair was settled.
The incriminating Ozu-Mohare film was shot on
stage in the Kamata studio. The stage had to be
rebuilt, since it was already broken down. The
stage was not soundproof either. Therefore, the
shooting started late at night, when the noises
in the neighborhood calmed down, and lasted only
until the first train in the early morning. The
screenplay was modeled after the film Tokyo
is a Nice Place (Tokyo yoi toko), the
shooting of which had been interrupted in the
previous year, adapting it for talkie use. The
change of the title occurred to distinguish it
from An Inn in Tokyo and College is
a Nice Place (Daigaku yoi toko, 1936).
The role of professor Okubo's wife changed from
Murase Sachiko to Naniwa Tomoko. This film is
split into two parts by the indications "1923
in Shinshu" and "1936 in Tokyo".
However, Shinshu is not treated as a characteristic
attribute, but generally as the countryside, in
contrast to Tokyo. The protagonist lives in a
house somewhere between the old quarters shitamachi
and the outskirts of town. The exact location
in Tokyo is not as crucial as in Ozu's previous
works. In the same way as Shinshu is just somewhere
outside Tokyo. Tokyo is just Tokyo in a general
way. In the same logic, the main subject of The
Only Son is the metaphorical expression of
a double movement, since the spatial movement
from the countryside to Tokyo correlates to a
social movement. This double movement can be seen
as a characteristic phenomenon of the immoderate
modernization.
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Personal
Thoughts and Comments
Ozu's first talkie feature film was made well
after the development of sound and in many ways
the emotions of the film are expressed like that
of a silent film (which is mostly through images
over dialogue). This is one of Ozu's most melodramatic
films and thematically it is very definitive of
his most well known family relationships (in this
case mother and son). The Only Son is an
incredibly moving and bittersweet film. The film
does leave hope and certainly you can see that
the Mother has great reason to be proud of her
son. Yet in Ozu fashion the Mother and Son hold
back their feelings. The mother is very proud
of her son, but she is still left sad and possibly
regretful only because she is concerned that her
son is not happy. The Only Son is an early Ozu
masterpiece and among his most emotionally involving.
The Only Son captures much of the mastery
of simplistic and poetic visual composition, as
well as an effective use of "pillow-shots",
and also a beautiful homage to the 1933 German
film Lover Divine. Powerful and insightful
Ozu's transition into the sound era stands as
an unforgettable achievement.
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