After his death, scholars discovered dozens of Ozu’s journals, from which most of Koi Ohori’s narration was drawn. As the revered filmmaker recalled in his journals, when he fell in love with cinema, it was not considered respectable work by Japanese society. Young Ozu also rarely saw his father, who left seeking work in Tokyo, much like Chishu Ryu’s character in There Was a Father.
Fulfilling his childhood ambition, Ozu did indeed find employment in the movie industry. Ironically, he allegedly earned his opportunity to direct through what is now referred to as the “Curry Rice Incident, illustrated by Patrick Mate’s original manga-style art. According to the legend, Shochiku studio chairman Shiro Kido was perversely impressed by the fit the very junior Ozu threw in the company cafeteria, when served after a senior director, despite ordering first.
As cineastes probably know, Ozu was the last major Japanese director to transition from silent film to talkies. Yet, Raim’s small but distinguished battery of experts make a good case his perfection of silent techniques directly shaped his mature style. Unfortunately, Ozu’s transition to sound was also delayed by his WWII military service, which Raim chronicles at length. However, he mostly focuses on Ozu’s enlisted comradery with his friend and fellow film director Sadao Yamanaka, rather than the details of their armed duties—although he carefully establishes Ozu was transferred to Nanjing after the notorious massacre.
Although small in number, Raim’s carefully selected assembly of talking heads nicely compliment the diary voice-overs. Hearing from the great Kyoko Kagawa adds an apostolic connection to Tokyo Story, which is especially notable considering how few thesps from that era yet remain with us. In addition, we hear from accomplished filmmakers like Wim Wenders, Luc Dardenne, Tsai Ming-liang, and Kiyoshi Kurosawa, who all were influenced by the master, to varying degrees.
Ozu is often likened to filmmakers like William Wyler, due to their aptitude for pulling great performances out of their stars, However, the imagery Raim selects also vividly illustrates Ozu’s gifts for visual composition. As a result, it could instill even greater respect for the master filmmaker, which is saying something. Highly recommended for patrons of classic Japanese cinema, The Ozu Diaries screens tomorrow afternoon, as part of this year’s To Save and Project.
