Strong and Moving!

I am only giving this movie a 1 for the great cast, though I can't imagine what any of them were thinking. This movie was horrible

Easily the biggest piece of Right wing non sense propaganda I ever saw.

Exactly the movie you think it is, but not the movie you want it to be.

A sensitive film which observes a widower and his family as they navigate through their days and nights in post-WWII Japan, a place where etiquette and custom are still important and individuality counts for less than it does in the U.S.A. We witness a world where unmarried women are expected to take care of their partner-less fathers and brothers.This film features excellent use of color, especially the placement of yellows and reds."An Autumn Afternoon" grows on you as you slowly, steadily work your way into the lives of Mr. Hirayama and his family; it's as if the camera were a guest gaining the acceptance of the major characters.Will Mr. Hirayama come upon his own personal autumn afternoon - a state of philosophical clarity where he can discern things soberly and make a wise and compassionate decision?A must-see for devotees of Japanese cinema, director Ozu, and those who love quiet, gentle films.

My favorite Yasujiro Ozu film is BANSHUN. And so, as I sat watching SANMA NO AJI, I quickly realized that this film is essentially a retooling of BANSHUN. Both films are about a devoted daughter living quite happily with her widower father. The father, however, realizes that the daughter is giving up a lot, so it's his goal to get her out and married for her own good. There are some differences, though, in the films. In SANMA NO AJI, it's not just the father but also the young lady's employer who sees a need for her to marry. In addition to taking care of her father, there also is a younger brother in the home. Still, it is essentially the same story with a few twists--and in color.It's also highly reminiscent of many of the mid to late Ozu films in a variety of ways. Like his usual style, the camera is stationary and often is at floor level--with cuts instead of closeups. You may not notice this at first, but it's clearly the director's trademark. In addition, the film has the typical slow and gentle pace and is about the conflicts between modern Japanese life and tradition. In this sense, there's not a lot that's too new about the film other than a light and modern (for 1962) soundtrack--very bouncy yet gentle.As for the film, the father (Shuhei) has a pretty nice life. He has a nice job, often goes out with friends to drink and Michiko (the daughter) takes care of his needs at home. However, as the film progresses he notices in other people's relationships that something is missing. In particular, meeting with an old school teacher from 40 years ago is a wake-up, as this old man also lives with his unmarried daughter--and his life is a bit pathetic. Shuhei is afraid that in later years, his and his daughter will have a similar relationship. So, he and his married son go about trying to arrange a marriage for Michiko--who does want to marry, though judging by her outward appearance and insistence that she wants to stay home and take care of her father, you's never know it.Overall, it's an incredibly slow but satisfying film and a nice end to Ozu's career, as it is his last film. Well worth seeing and full of lovely and realistic vignettes. For those who are looking for action and excitement, you may not like this film. For those who can appreciate a slower and more deliberately paced film, this is hard to beat. A lovely portrait of life in Japan circa 1962.By the way, is it me or did those people in the film really drink a lot?! Wow!

When I first saw this film it struck me as being a very unusual and odd little movie. The camera work was direct and straightforward, as if the director were composing a still life painting. With the passage of time I remembered this film not as a whole but as a series of vignettes, the sailor marching in the bar, the unrequited lovers waiting for a train on the platform, the father staring into his daughter's empty room. I have recently seen An Autumn Afternoon again, and was not disappointed. Each scene has an almost indescribable longing, an ephemeral quality that speaks to the beauty and sadness of everyday life. I love this film, it is a true work of art.

Not that I've seen too many Ozu films. This is only my third, after Bakushu and Tokyo Story. Both of those I found dull, even Tokyo Story, which is often considered one of the best films ever made. I don't know the critical reputation of Autumn Afternoon, but I liked it a lot. In fact, it continues with Ozus favorite themes (which I do sincerely hope aren't the same in all his films, and that I've just accidentally picked similar ones): aging, marriage, and Westernization. Autumn Afternoon is less pushy than those other two films. I thought that Ozu was making a lot of judgements in those films (although others have said that Ozu less judgemental than any other auteur; I don't believe it). In Autumn Afternoon, everything is observed without judgement. It's about life, it's about Japanese culture, and it's about human beings. I won't go into a deep examination of the film. I'd like to praise the musical score specifically, which is very charming and beautiful. Other than that, I'd just like to say that Autumn Afternoon is a delightful and touching film. See it if you're an Ozu fan, see it if you are not one. 9/10.