The first film in Ozu’s Noriko Trilogy (though the final one for us to watch) may be the earliest example of using a Coca-Cola advertisement as a shorthand critique of American consumerism. The film is as anti-occupation as a film can be without being suppressed. It helps that Ozu’s pretty subtle with the critiques of America and they don’t exist overtly in the dialogue. On the other hand, the very fact that textually this film feels very nostalgic for a pre-war Japan that maybe wasn’t so great is itself a critique of the US occupation. So there’s that.
This week on Lost in Criterion we discuss nostalgia and moving on, with Ozu’s Late Spring Listen at LostInCriterion.com, on iTunes or Spotify, or wherever you like to find podcasts. and while you're at it, like us on Facebook or support us on Patreon.