Yasujiro Ozu

The End of Summer

The End of Summer

The Kohayakawa family is thrown into distress when childlike father Manbei takes up with his old mistress, in one of Ozu's most deftly modulated blendings of comedy and tragedy.

Film Info

Available In

Collector's Set

Eclipse Series 3: Late Ozu

Eclipse 3: Late Ozu

DVD Box Set

5 Discs

Ships Jul 9, 2019


The End of Summer
Ganjiro Nakamura
Manbei Kohayakawa
Setsuko Hara
Yoko Tsukasa
Michiyo Aratama
Keiji Kobayashi
Masahiko Shimazu
Hisaya Morishige
Eiichiro Isomura
Chieko Naniwa
Tsune Sasaki
Reiko Dan
Chishu Ryu
Haruko Sugimura
Shige Kato
Daisuke Kato
Yanosuke Kitagawa
Yasujiro Ozu
Yasujiro Ozu
Kogo Noda
Sanezumi Fujimoto
Tadahiro Teramoto
Masakatsu Kaneko
Asakazu Nakai
Art direction
Tomoo Shimogawara
Toshiro Mayuzumi
Koichi Iwashita

From The Current

Eclipse Series 3: Late Ozu

Yasujiro Ozu had already directed forty-five features by the time he started work on Early Spring, in 1955, but the artistic and commercial success of his previous film, Tokyo Story (1953), had rejuvenated him. Considered an emotional and technical r

By Michael Koresky



Yasujiro Ozu

Writer, Director

Yasujiro Ozu
Yasujiro Ozu

Yasujiro Ozu has often been called the “most Japanese” of Japan’s great directors. From 1927, the year of his debut for Shochiku studios, to 1962, when, a year before his death at age sixty, he made his final film, Ozu consistently explored the rhythms and tensions of a country trying to reconcile modern and traditional values, especially as played out in relations between the generations. Though he is best known for his sobering 1953 masterpiece Tokyo Story, the apex of his portrayals of the changing Japanese family, Ozu began his career in the thirties, in a more comedic, though still socially astute, mode, with such films as I Was Born, But . . . and Dragnet Girl. He then gradually mastered the domestic drama during the war years and afterward, employing both physical humor, as in Good Morning, and distilled drama, as in Late Spring, Early Summer, and Floating Weeds. Though Ozu was discovered relatively late in the Western world, his trademark rigorous style—static shots, often from the vantage point of someone sitting low on a tatami mat; patient pacing; moments of transcendence as represented by the isolated beauty of everyday objects—has been enormously influential among directors seeking a cinema of economy and poetry.