The Only Son
Cast & Crew
Read More
Yasujiro Ozu
Director
Choko Iida
Shinichi Himori
Masao Hayama
Tadao Ikeda
Writer
Shojiro Sugimoto
Cinematographer
Film Details
Also Known As
Hitori Musuko
Genre
Drama
Foreign
Release Date
1936
Technical Specs
Duration
1h 27m
Sound
Mono
Color
Black and White
Theatrical Aspect Ratio
1.37 : 1
Synopsis
A good-natured mother gives up everything to ensure her son's education and future.
Director
Yasujiro Ozu
Director
Film Details
Also Known As
Hitori Musuko
Genre
Drama
Foreign
Release Date
1936
Technical Specs
Duration
1h 27m
Sound
Mono
Color
Black and White
Theatrical Aspect Ratio
1.37 : 1
Articles
The Only Son/There Was a Father - THE ONLY SON & THERE WAS A FATHER - Two Yasujiro Ozu Films on DVD
The Only Son (1936) opens with a quote that casts maternal responsibility and filial duty in a shadow of hopelessness: "Life's tragedy begins with the bonding of child and parent." In this film, the parent is widowed mother Otsune (Cholo Iida), a poor textile worker in a rural town far from Tokyo, and the son a bright young schoolboy with an uncertain future: she can't afford to send him to high school but is encouraged to make the sacrifices necessary to make it happen. "Be a great man and don't worry about me," she tells him in their last time together for a decade. This sequence, set in 1923, is prologue to the story of their reunion in 1936. She leaves her small factory town to visit her "successful" son in Tokyo and finds that her grown son Ryosuke (Shinichi Himori) is married, has a young son and is scraping by teaching night school.
The Only Son was his first sound film (he resisted making the transition longer many fellow directors) yet he makes the transition seamlessly and uses sound-and silence-effectively. In one scene, he even pokes fun at sound cinema by taking his mother to a "soundie," a German musical that simply puts her to sleep. Like his best silent films, it has a quiet understatement and graceful formality, showing everyday life as a series of almost ritualistic greetings, conversations, and negotiations between peers, parents, and children. He shows collision of traditional culture and modern life as Ryosuke brings his mother into his cramped apartment and introduces her to the big city, he in his western-influenced suit, she in her traditional sari. And, of course, while the grown-ups suppress their personal desires under ceremony and social convention, Ryosuke's son is a typical Ozu child: obstinate, cranky, and selfish, utterly unselfconscious and the opposite of the cultural ideal.
There are no success fantasies in Ozu films but the level of disappointment and despair in this film is unusual. Ozu shows us a country in economic straits and characters deflated by their failure to live up to expectations. Otsune's visit only crystallizes his disappointment to be the success she envisioned, especially when she reveals the extent of her sacrifice. But it also inspires him to strive once more for the professional success that has eluded him, while she has the opportunity to see beyond his economic failure and see the generosity of her son. Ozu's portrait is not exactly hopeless but it is somber. There is no triumph without sacrifice and the films ends with a reminder of that sacrifice, not with a speech but a slump that communicates a disappointment straight from the soul.
By the time Ozu made There Was a Father (1942), a film he originally wrote (in collaboration with Tadao Ikeda and Takao Yanai) soon after the release of The Only Son in 1937, Japan in the middle of World War II, fighting the United States and occupying much of China. The idea of sacrifice for the national good was beyond question and Ozu delivered the necessary social message and still managed to create a film true to his sensibility and filled with tragedy, merely shifted into a new key. Again, we have the story of a widowed parent, Shuhei (Chishu Ryu, Ozu's longtime leading man and cinematic alter-ego), a devoted son, Ryohei (Haruhiko Tsuda), and a duty (to family, to Japan, to self) that will keep them apart for most of their lives. In this case, teaching is seen as one of the highest callings and Ryohei follows in his father's footsteps, which for him lead far away from home. In contrast to The Only Son, the reunions of father and son are joyous occasions, which Ozu communicates with sublime, serene restraint: the two fishing in a stream, their poles arcing upriver in unison and slowly drifting down, or simply sitting quietly in one another's company, enjoying the moment in silence.
There Was a Father is Ozu's fourth sound feature and his first to do away with Hollywood conventions completely, made entirely in the unique approach we associate with Ozu. He shoots almost exclusively from stationary set-ups in the "tatami mat position" (about 36 inches from the floor, as if viewed from the position of a person seated cross-legged on a floor mat), slows the pace of his editing and pulls his camera back to watch scenes play out in full shots and directs his performers to mask their emotions behind a polite smile and a calm resignation, using gesture and body language to communicate what they are unable to say or show. The "pillow shots" (still life scenes of the world around his characters which "cushion" the space between scenes) become the perfect complement to the serenity of the moments between of father and son.
There is no reference to the war (historian Tony Rayns suggests they may have been edited out by post-war censors) but the importance of duty is brought up over and over with the idea that one's job is also one's mission and duty. Yet while Ozu respects Shuhei's integrity and sense of accomplishment, and Ryohei's commitment to teaching the next generation, he implicitly questions the high cost of duty, the lonely years separation from his son. Ozu's art is in mixing the sadness with respect, love and memories of their time together, while reminding us of the unacknowledged regret of a lifetime apart with a simple, heartbreaking look.
Classic film preservation is a generally recent movement in Japan and the print quality of the two films is disappointing compared to most American studio classics of the same vintage. Original 35mm materials no longer exist and the DVDs of both films are mastered from fine-grain 16mm prints, which the notes explain show "every imaginable kind of wear and tear." Despite extensive digital repair, the films exhibit extensive chemical deterioration, surface scratches and print tears, as well as missing frames and footage, and the soundtracks are scratchy hissy. Given that, they are quite watchable and (barring any significant archival discoveries) as good as these films will likely ever look.
Criterion presents each film in a separate case and collected in a paperboard slipsleeve, both adorned with austere illustrations by artist Adrian Tomine that beautifully and simply communicate the look, tone and feel of the films. Film scholars and Ozu experts David Bordwell and Kristin Thompson are featured in superb video interviews featured on both discs, both running over 20 minutes. "I think that Ozu is the greatest director ever to work in the history of cinema," begins Bordwell in the featurette on The Only Son. "To me he was working at a level of brilliance that no other director was.... He is, for me, the fulfillment of the potential of cinema." Where this interview serves as an introduction to Ozu and the transition of his style and his subjects from the silent comedies to the sound era, the featurette on There Was a Father is more firmly focused in the film and its place in its culture and its era, as well as Ozu's personal concerns independent of the cultural demands of wartime filmmaking. Also features a 19-minute interview with Japanese film historian Tadao Sato and booklets with each film featuring new essays by film scholar Tony Rayns and archival articles by actor Chishu Ryu and scholar Donald Richie.
For more information about The Only Son/There Was a Father, visit The Criterion Collection. To order The Only Son/There Was a Father, go to TCM Shopping.
by Sean Axmaker
The Only Son/There Was a Father - THE ONLY SON & THERE WAS A FATHER - Two Yasujiro Ozu Films on DVD
It's a cliché by now to call Yasujiro Ozu the most "Japanese" of Japanese directors, even
if it is true to a point. The restrained style and quietly contemplative tone of his
family dramas do reflect conservative Japanese ideals and mores but they are also utterly
contemporary to their times. This double feature of pre-World War II Ozu is a beautiful
match-set of dramas in duty and sacrifice, but the five years between 1936 and 1941 make
all the difference in the world, for both Ozu the artist stretching himself into the
sound era and Ozu the director doing his duty in the Japanese film industry.
The Only Son (1936) opens with a quote that casts maternal responsibility and
filial duty in a shadow of hopelessness: "Life's tragedy begins with the bonding of child
and parent." In this film, the parent is widowed mother Otsune (Cholo Iida), a poor
textile worker in a rural town far from Tokyo, and the son a bright young schoolboy with
an uncertain future: she can't afford to send him to high school but is encouraged to
make the sacrifices necessary to make it happen. "Be a great man and don't worry about
me," she tells him in their last time together for a decade. This sequence, set in 1923,
is prologue to the story of their reunion in 1936. She leaves her small factory town to
visit her "successful" son in Tokyo and finds that her grown son Ryosuke (Shinichi
Himori) is married, has a young son and is scraping by teaching night school.
The Only Son was his first sound film (he resisted making the transition longer
many fellow directors) yet he makes the transition seamlessly and uses sound-and
silence-effectively. In one scene, he even pokes fun at sound cinema by taking his mother
to a "soundie," a German musical that simply puts her to sleep. Like his best silent
films, it has a quiet understatement and graceful formality, showing everyday life as a
series of almost ritualistic greetings, conversations, and negotiations between peers,
parents, and children. He shows collision of traditional culture and modern life as
Ryosuke brings his mother into his cramped apartment and introduces her to the big city,
he in his western-influenced suit, she in her traditional sari. And, of course, while
the grown-ups suppress their personal desires under ceremony and social convention,
Ryosuke's son is a typical Ozu child: obstinate, cranky, and selfish, utterly
unselfconscious and the opposite of the cultural ideal.
There are no success fantasies in Ozu films but the level of disappointment and despair
in this film is unusual. Ozu shows us a country in economic straits and characters
deflated by their failure to live up to expectations. Otsune's visit only crystallizes
his disappointment to be the success she envisioned, especially when she reveals the
extent of her sacrifice. But it also inspires him to strive once more for the
professional success that has eluded him, while she has the opportunity to see beyond his
economic failure and see the generosity of her son. Ozu's portrait is not exactly
hopeless but it is somber. There is no triumph without sacrifice and the films ends with
a reminder of that sacrifice, not with a speech but a slump that communicates a
disappointment straight from the soul.
By the time Ozu made There Was a Father (1942), a film he originally wrote (in
collaboration with Tadao Ikeda and Takao Yanai) soon after the release of The Only
Son in 1937, Japan in the middle of World War II, fighting the United States and
occupying much of China. The idea of sacrifice for the national good was beyond question
and Ozu delivered the necessary social message and still managed to create a film true to
his sensibility and filled with tragedy, merely shifted into a new key. Again, we have
the story of a widowed parent, Shuhei (Chishu Ryu, Ozu's longtime leading man and
cinematic alter-ego), a devoted son, Ryohei (Haruhiko Tsuda), and a duty (to family, to
Japan, to self) that will keep them apart for most of their lives. In this case, teaching
is seen as one of the highest callings and Ryohei follows in his father's footsteps,
which for him lead far away from home. In contrast to The Only Son, the reunions
of father and son are joyous occasions, which Ozu communicates with sublime, serene
restraint: the two fishing in a stream, their poles arcing upriver in unison and slowly
drifting down, or simply sitting quietly in one another's company, enjoying the moment in
silence.
There Was a Father is Ozu's fourth sound feature and his first to do away with
Hollywood conventions completely, made entirely in the unique approach we associate with
Ozu. He shoots almost exclusively from stationary set-ups in the "tatami mat position"
(about 36 inches from the floor, as if viewed from the position of a person seated
cross-legged on a floor mat), slows the pace of his editing and pulls his camera back to
watch scenes play out in full shots and directs his performers to mask their emotions
behind a polite smile and a calm resignation, using gesture and body language to
communicate what they are unable to say or show. The "pillow shots" (still life scenes of
the world around his characters which "cushion" the space between scenes) become the
perfect complement to the serenity of the moments between of father and son.
There is no reference to the war (historian Tony Rayns suggests they may have been edited
out by post-war censors) but the importance of duty is brought up over and over with the
idea that one's job is also one's mission and duty. Yet while Ozu respects Shuhei's
integrity and sense of accomplishment, and Ryohei's commitment to teaching the next
generation, he implicitly questions the high cost of duty, the lonely years separation
from his son. Ozu's art is in mixing the sadness with respect, love and memories of their
time together, while reminding us of the unacknowledged regret of a lifetime apart with a
simple, heartbreaking look.
Classic film preservation is a generally recent movement in Japan and the print quality
of the two films is disappointing compared to most American studio classics of the same
vintage. Original 35mm materials no longer exist and the DVDs of both films are mastered
from fine-grain 16mm prints, which the notes explain show "every imaginable kind of wear
and tear." Despite extensive digital repair, the films exhibit extensive chemical
deterioration, surface scratches and print tears, as well as missing frames and footage,
and the soundtracks are scratchy hissy. Given that, they are quite watchable and (barring
any significant archival discoveries) as good as these films will likely ever look.
Criterion presents each film in a separate case and collected in a paperboard slipsleeve,
both adorned with austere illustrations by artist Adrian Tomine that beautifully and
simply communicate the look, tone and feel of the films. Film scholars and Ozu experts
David Bordwell and Kristin Thompson are featured in superb video interviews featured on
both discs, both running over 20 minutes. "I think that Ozu is the greatest director ever
to work in the history of cinema," begins Bordwell in the featurette on The Only
Son. "To me he was working at a level of brilliance that no other director was.... He
is, for me, the fulfillment of the potential of cinema." Where this interview serves as
an introduction to Ozu and the transition of his style and his subjects from the silent
comedies to the sound era, the featurette on There Was a Father is more firmly
focused in the film and its place in its culture and its era, as well as Ozu's personal
concerns independent of the cultural demands of wartime filmmaking. Also features a
19-minute interview with Japanese film historian Tadao Sato and booklets with each film
featuring new essays by film scholar Tony Rayns and archival articles by actor Chishu Ryu
and scholar Donald Richie.
For more information about The Only Son/There Was a Father, visit The Criterion Collection. To order The Only
Son/There Was a Father, go to
TCM Shopping.
by Sean Axmaker
Quotes
Trivia
This was the last feature made at the Shochiku Kamata studio.
This was Yasujiro Ozu's first feature film with all-synchronous dialogue.