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Good Morning is a typical example of Japanese national cinema: in which Ozu revealed various aspects of Japan at the beginning of 60’s and connected them to each other, as well as tested the Japanese culture and human relationships by the silent protest held by the two brothers. As David Bordwell puts it: “Ozu’s films are highly referential. ... ” (David Bordwell: Ozu and the Poetics of Cinema. ... 33), Good Morning is no doubt an interesting drama, but beyond that, we can even regard it as a loyal document of Japanese history of social development.
n terms of thematics, different audience might have different points of view about the film, because Ozu adopted a wide range of materials in it: the relation between parents and children, gossips among the suburban neighborhood, the farting flatulence joke, Japanese electrization, unemployment, changes in business, and even a love story. I would say Good Morning is a story of Japanese daily life and human relationships. ... The beginning shot of Good Morning is a steel overhead line support tower, which appears many times in the film, in front of a row of wooden houses. ... Ozu is regarded as the most “Japanese” director in terms of his value and his scheme materials, and his aesthetic style just strictly reflected the content he shot. He kept the same style in Good Morning: motionless camera, low-angle shooting, straight cut, and the important role of dialogue, etc. David Cook suggests this style is a representation of Japan’s economic situation: “To these films of people living restrained and minimal lives, Ozu brought a restrained and minimal cinematic style. ... The vivid color and flat composition reminded me of the traditional Japanese painting Yamato-e, and Ozu’s farting joke must have something to do with his once specializing in a kind of Japanese light comedy “nonsense film”.
Approximate Word count = 1441
Approximate Pages = 5.8
(250 words per page double spaced)
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