Yasujiro Ozu, sometimes called the most Japanese of Japanese directors and sometimes (usually at the same time) called the most universal, transforms an elderly couple's spoiled vacation into a lament for the deteriorating family unit in modern Japan. What could easily have seemed like whining, crabbing, or other symptoms of senility, is held in check by the composure and dignity of Ozu's formalized technique, although a bit of the whining and crabbing is still able to leak through. With Chishu Ryu and Setsuko Hara. (1952) — Duncan Shepherd
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