Late Spring (original title: Banshun) is a 1949 Japanese drama directed by Yasujirō Ozu, often considered one of his masterpieces and a defining work of postwar Japanese cinema. With its quiet grace, emotional depth, and minimalistic style, the film explores the tension between personal happiness and social expectations.
Detailed Summary
The Simple Life of Noriko and Her Father
The story centers around Noriko Somiya (Setsuko Hara), a gentle and devoted young woman in her late twenties who lives with her widowed father, Professor Shukichi Somiya (Chishū Ryū). Their life in Kamakura is peaceful and filled with tender companionship. Noriko runs the household, looks after her father, and seems perfectly content with her life. However, the outside world begins to intrude on this comfortable existence.
The Pressure to Marry
Noriko’s Aunt Masa Taguchi begins to pressure her to get married, arguing that Noriko is too old to remain single. In traditional postwar Japan, women were expected to marry at a young age, and Noriko’s unmarried status becomes a source of social tension. Noriko resists, insisting that she is happy caring for her father and doesn’t need a husband. Her father, too, initially seems content with their life together.
The False Engagement and the Push for Change
Noriko is eventually introduced to a potential suitor—an unseen man who is said to resemble actor Gary Cooper, a running bit of subtle humor in the film. However, Noriko is not enthusiastic. When her aunt hints that her father might remarry, Noriko becomes distressed. The thought of losing her place in the home unsettles her deeply.
In a heartbreaking twist, her father deliberately pretends he plans to remarry to encourage Noriko to marry and start her own life. His lie is meant to set her free, even though it means breaking their close bond.
Noriko’s Wedding and Emotional Farewell
Eventually, Noriko agrees to marry the unseen suitor, and preparations for the wedding begin. The night before, she confesses to her father that she doesn’t want to marry, expressing her love and loyalty to him. Her father gently insists that this is the natural order of life—that parents must let go so children can move forward.
Movie Ending
Noriko’s wedding takes place off-screen—a deliberate choice by Ozu, who prefers emotional aftermath to melodrama. After the ceremony, the father returns home alone. His house, once lively with Noriko’s presence, is now silent and empty.
In the final, haunting scene, Shukichi sits alone, peeling an apple. The peel falls away in one long, unbroken spiral, symbolizing both continuity and loss. As he finishes, he sets the apple aside and lowers his head in quiet resignation. The camera lingers, allowing the emptiness to settle in.
This ending captures Ozu’s signature style: the profound sadness of ordinary life changes, the beauty of acceptance, and the inevitability of separation. It is one of the most moving conclusions in world cinema, precisely because it avoids overt sentimentality.
Are There Post-Credits Scenes?
No, Late Spring does not feature any post-credits scenes. As a film from 1949, it predates the modern convention of adding extra footage after the credits. The film ends quietly with the father’s solitary moment, which serves as the emotional and narrative closure.
Type of Movie
Late Spring is a drama and a shomin-geki (a Japanese genre focusing on the lives of ordinary people). It’s also considered a family drama and an existential meditation on love, duty, and change.
Cast
- Setsuko Hara as Noriko Somiya
- Chishū Ryū as Professor Shukichi Somiya
- Haruko Sugimura as Aunt Masa Taguchi
- Yumeji Tsukioka as Aya Kitagawa (Noriko’s friend)
- Kuniko Miyake as Miwa
- Jun Usami as Hattori
- Masao Mishima as Professor Onodera
Film Music and Composer
The film’s music was composed by Senji Itō. The score is gentle and understated, reflecting Ozu’s minimalist approach. Rather than dictating emotion, the music subtly complements the domestic atmosphere, often fading into silence to emphasize natural sounds and dialogue.
Filming Locations
Late Spring was filmed primarily in Kamakura and Kyoto, Japan. Kamakura, with its tranquil seaside and temples, mirrors the film’s introspective tone. The domestic scenes were shot on carefully constructed sets at Shochiku Studios in Tokyo. Ozu’s meticulous attention to detail ensured that every tatami mat, vase, and tea cup contributed to the realism and quiet poetry of the film.
Awards and Nominations
At the time of its release, Late Spring won the Kinema Junpo Award for Best Film and Best Director in Japan. Over the decades, it has been consistently ranked among the greatest films ever made by critics and filmmakers, including appearances in Sight & Sound’s polls of the best films of all time.
Behind the Scenes Insights
- Ozu often rehearsed actors dozens of times to achieve a natural rhythm.
- The famous apple-peeling scene was shot multiple times until the peel was perfectly continuous.
- Setsuko Hara, known as “the eternal virgin” of Japanese cinema, became a symbol of pure, restrained emotion after this role.
- Ozu’s style included the “tatami shot” — placing the camera at a low angle, as if sitting on a tatami mat, creating intimacy and humility.
Inspirations and References
The film is loosely based on the short novel Father and Daughter by Kazuo Hirotsu, though Ozu and his longtime collaborator Kōgo Noda made significant changes, simplifying the story and focusing on emotional realism rather than melodrama.
Alternate Endings and Deleted Scenes
No alternate endings are known. Ozu’s shooting scripts were famously precise—he rarely deviated from his planned structure. Some minor domestic scenes were shortened, but nothing that changed the overall tone or narrative.
Book Adaptations and Differences
While inspired by Father and Daughter, Ozu’s film departs from the novel’s more direct dramatic approach. The film removes much of the dialogue-heavy exposition, relying instead on silent gestures, pauses, and framing to convey meaning.
Memorable Scenes and Quotes
Key Scenes
- Noriko’s bike ride with her friend Aya — a rare moment of freedom and joy.
- The Noh theater scene, where Noriko sees her father with another woman, marking a turning point in her emotions.
- The apple-peeling finale, symbolizing loss and acceptance.
Iconic Quotes
- Noriko: “Living alone would be sad. But living together forever is impossible.”
- Shukichi: “Marriage may be unpleasant, but it’s a step we all must take.”
- Aunt Masa: “You can’t hold onto her forever.”
Easter Eggs and Hidden Details
- The vase in the final scene, often interpreted as a symbol of loneliness, is one of Ozu’s most analyzed visual motifs.
- The absence of a visible groom during the wedding emphasizes that the story is about Noriko’s emotional journey, not romance.
- The clock shots scattered throughout subtly remind the viewer of time’s passage and inevitability.
Trivia
- The film is part of Ozu’s “Noriko Trilogy,” followed by Early Summer (1951) and Tokyo Story (1953), though each is a standalone narrative.
- Setsuko Hara retired from acting in the 1960s and lived in seclusion until her death, adding to her legendary status.
- Late Spring marked Ozu’s return to filmmaking after World War II, reflecting Japan’s transition from old traditions to modern values.
Why Watch?
Late Spring is not about grand events but about the quiet shifts that define human life. Watch it for its serene pacing, emotional honesty, and universal themes of love, sacrifice, and letting go. It’s a masterclass in subtle storytelling that grows more powerful with each viewing.
Director’s Other Movies
- Tokyo Story (1953)
- Early Summer (1951)
- An Autumn Afternoon (1962)
- Floating Weeds (1959)
- Good Morning (1959)
Recommended Films for Fans
- Tokyo Story (1953)
- The Taste of Tea (2004)
- Still Walking (2008)
- An Autumn Afternoon (1962)
- Ikiru (1952)
