Wednesday, December 13, 2017

The Cask of Amontillado by Allen Poe

                                                            From written to visual language

Written by Sanaa El Alaoui

In art milieu, it is commonplace to be evoked by other artworks, provided that there is a subliminal stream that passes through and between artists, propelling them to be triggered by various new waves, theoretical trends, inventions and art forms. No matter rebellious or “avant-garde” these crafts can seem, by some means, they touch others artists, whether they are classic or contemporaries to react in certain ways. A perfect example of this claim is the translation or conversion of written forms into the visual language (film adaptation). Thus, if we often attribute painter’s instruments to brushes and colors, and writer’s instruments to pens and words, then it is inevitable that we will attribute cinema’s instruments to camera and images.

 In his book, Astruc theorized the notion of “caméra-stylo” or “camera pen”, and this denotes the idea of storytelling via images and asserts that “direction is no longer a means of illustrating or presenting a scene, but a true act of writing” and that “the filmmaker/author writes with his camera as a writer writes with his pen” (22). This concept is an introductory ground to the so-called “Auteur theory” or “Film Authorship”. Such rebellious transgression arose along the “French New Wave” when it became explicit that there will be no radical separation between novel authorship and film authorship, and that both creators should be evaluated similarly. That is to say, the effectiveness of a film is mirrored in and evaluated from the directors’ performance, and that “there are no good and bad movies, only good and bad directors” (Truffaut). The reason why this topic is raised is that film adaptation is often referred to the concept of “horizons of expectation”, and that the silver screen, as a modern medium of expression, can hardly be consecrated to the level of books, following the claim that “literature profits from a double “priority”: (a) the general historical priority of literature to cinema, and (b) the specific priority of novels to their adaptations” (Stam 4).

 The expression is a language in its own right; therefore, this language is conveyed through a multitude of mediums, ranging from cinema to craft, sculpture, composing, writing, dancing , singing … etc. For this reason, the topic in question is the whether the overarching message of the original work retains its substance or it evaporates throughout the process of words to images translation and its results in restricting the freedom of directors’ vision in expressing his work, following his bound to fidelity.

Edgar Alan Poe’s short story “The Cask of Amontillado” with its several film adaptations aptly embodies this issue. To begin with, it is noteworthy to put in mind the impossibility to answer to what extent the film adhered to a book, novel or a short story. The different medium to which the story is 2 exposed to has unavoidably its touch in conveying the meaning differently. The reason lies behind the fact that when readers are exposed to different items, this stimulates and enhances their comprehension of the story. Such items can be listed in music, camera movement, lighting, mise en scène, colors… etc.

These elements position the reader in a different world than the one they are exposed to while going through a written text. It is true that the extent of their imagination is wider when reading since they are not supplemented with any tools but their mere imagination, which explains their disappointment when they watch adapted films that did not live up to their “horizons of expectation”. However this does not mean that the filmmaker was not faithful enough to the original work, but in order to gain the title of an artist, one should keep in mind that acquiring a distinctive and special style is of crucial importance. “The Cast of Amontillado” is a quite interesting story, its poetic tone and ironic theme explain its alluring nature to worldwide filmmakers. Among these filmmakers, this essay examines Julián Franco Lorenzana’s film version. To start with, the symbolic richness of the original text is unquestionable. Every part of the story denotes meanings (explicit or implicit) that overlap with other meanings in the text. This can be the case for a film as well; the shots may overlap to indicate subliminal meanings which provoke the audience consciously and unconsciously. Apparently, this is quite identical to the notion of Vladimir Kulechov’s effect in cinema, as he implies that editing is our gate to understanding the gist with no need for dialogue or explicit thought, but merely with the juxtaposition of shots, and that “ the montage of shots is the construction of whole phrases” (350).

 Lorenzana directed his film as per his stylistic vision, and this is quite obvious throughout his work. He started the film with a shot announcing a dark place where the audience is faced with a closed gate made of masonry (apparently built by Montresor). Parallelly, the camera takes us in a smooth manner with a zoom-in penetrating the closed gate; all accompanied by a slow and sad violin music that ends up with a fade-in triggered by a hollow sound, generated by the effect of plastering up the last stone into the stonework. Subsequently, with a fixed black shot, the director introduces the film title (The Cask of Amontillado) and the original author (Edgar Alan Poe). As the film progresses, the audience is slowly introduced to the setting of the story. The third shot begins with a voice-over of the text’s first lines joined by the sad music that begins again: “The thousands of injuries of Fortunato I had borne as I best could, but when he ventured upon insult I vowed revenge … “(line 1). Parallelly, a long shot takes us steadily throughout a room enlightened by dim flames of fire, where it reflects gothic shadows on a black mask and a trowel positioned on a table. As the recitation of the story carries on, the camera keeps moving on to position deeply the audience into the place (the room of Montresor in his Palace).

 The camera stops at a high angle in the following shot, showing us a character (Montresor) writing some lines on paper (same lines that we hear equivalently in the voice-over). Above the desk, there is a glass of wine and some writing tools. The shot ends with a close-up onto Montresor’s hand, writing the last words with ink on paper enlightened by the same source of light: “ … he did not perceive that my smile was the at the thought of his immolation”

This description shows that symbolic meaning if it is denoted by words in the text, it is inevitably denoted by the gothic nature of the place (the dark gate/masonry in first shot), the trowel/mask on the table (the tools with which Montresor will arm himself to take vengeance), the fire that stirs the audience with a shrinking feeling and discomfort, and finally the wine on the table that represents the strongest weapon in the story. Cinema is a language of signs in its own right since each constituent is relevant to the story. Each object, each movement or camera angle denotes thoughts and provokes us unconsciously, and this is the beauty of film adaptation: re-telling a story in more than onne way with a new medium gives us a new reading every time. Generally, the ordinary means to read a novel is the narrator, this latter is indispensable and predominant.

 He is the key to the story, and if there is no narrator, a reader is like a vehicle with no wheels. However, in film, the narrator is uncalled for, following the fact that he is replaced by other strong and alternative elements that stimulate our understanding and imagination. Even though in Lorenzana’s short film, we hear a voice-over of Montresor relating parts of the story sometimes, it is still superfluous. If we take the voice- over off, we can still understand the thoughts and feelings with the help of performance (e.g., facial expressions), camera movement, lighting, coloring, and even silence, for instance. The following shot takes us outside the room, where we explicitly see our main character, Montresor, walking in the narrow and dark streets of Italy where “it was about dusk”. As he walks through the street, the music of “the supreme madness of the carnival’’ rises as he approaches the place (line 11). The camera in a wide shot represents to the audience people dressed up madly and dancing widely in the dark streets and takes the viewers steadily to introduce Fortunato, who has dressed up accordingly as a jester. This might be exemplified ironically throughout the story. From one hand his name denotes the opposite of his fate and from the other hand, his outfit announces imbecility, and this is not matching his title of connoisseurship. A famous Chinese adage claims that “one picture is worth ten thousand words”.

 On this ground, thoughts in the original text are expressed explicitly to understand the internal suffering of Montresor in one sentence: “…the thousand injuries of Fortunato I had borne … but when he ventured upon insult I vowed revenge…” However, in the film, this one sentence is demonstrated in one mere shot (the very first shot of the masonry). It denotes everything Montresor was feeling: his injuries (Metaphorically symbolized in the stones), his revenge (Beyond this gate is Fortunato’s catacomb) and his journey to revenge (the smooth penetration of camera throughout the closed gate). Another key element is the scene where Montresor and Fortunato stand next to the coat of arms. The beauty of this scene is announced in the shot composition and the characters’ position. From the left hand, Fortunato stands to gaze at the coat of arms, and from the right hand, Montresor holds a flambeau enlightening the entrance (A symbolic picture implying that Fortunato is gazing at his own place of burial, his fate). The flambeau illuminates the coat of arms positioned in the middle, which embodies “ a huge human foot d'Or, in a field azure; the foot crushes a serpent rampant whose fangs are imbedded in the heel” (line 60). As a result, we conclude that the indirect thought announces that Fortunato is faced to his own fate and that he will be crushed (as a serpent) by Montresor (the human foot d’Or) in a field azure (in the vaults).

Another ambiguous thought (which may not be denoted in the original text) is the position of the flambeau in the middle that gives a beautiful metaphor of the light (as Montresor’s knowledge) while holding it against the coat of arms (knowledge = revenge). We infer that there is an endeavor to tell the audience that the light is the guiding force of Montresor to seek his vengeance which is represented in “Nemo me impune lacessit” (line 62) and which implied that no one do bad to be and get not punished.

Consequently, thoughts in cinema may announce ambiguity that demands more mental effort for the audience to understand the message. In cinematography, one of the atypical and powerful tools is silence. Silence can be as dangerous as it can be peaceful and as effective as music, which explains its usage in my film genres especially the horror ones. As the film has a gothic influence, the audience can hear cautiously the echo of the unsteady treading of Fortunato followed by the sound of the jingling belt throughout the damp way, and this denotes a strong metaphor: as he they go deeper, the echo of the jingling belt and the footsteps enhance a feeling of suspense. However, this is not present in the text, the only tool presented in a written material is language, and the interpretation of this tool is dependent on the reader. Nevertheless, readers have the liberty to create their own film as per their vision.

 Another way of approaching this issue is the extent of effort readers or viewers consume when exposed to these artistic trends. While reading, as discussed previously, the reader’s imagination is quite wide, provided that there is no supplementary tool that enhances their comprehension; therefore, there is no restrictions for them when it comes to creating their own film in their minds. Nevertheless, this does not mean that viewers may lack imagination. Contrarily, in films, fantasy and mental creation is as powerful as reading. When going through a text, we can readily feel and understand the characters’ emotions and their intentions; therefore, thoughts are more common in texts.
 However, in films, we need more mental effort, following the lack of explicit thoughts. Even though actions may supplement our comprehension, they are still inadequate. Let’s say that a viewer hasn’t read the text, and he is exposed to this adapted film with no voice-over, he will surely need more mental effort to understand Montresor’s tendencies. It is noteworthy that it is not unfeasible to do so. However, it is only a matter of time and mental creativity to decode the message with certain kind of assistance, such as: objects, colors, lighting, subliminal actions, setting, camera position…. etc .

To conclude with, in his film, Lorenzana used a different chronological order than the original text. We afterward learned that the initial frame is itself the same last frame. The only difference is that the final frame ends with a high zoom-in into the coat of arms, which answers the question we formed initially: where are we? This gate is same one that announces Fortunate’s fate, and this is related to a cinematic logic where for a film to be successful, the first and last frames should be progressive, that is to say, some events should occur that would changes the last frame (e.g., accomplishment). In order words, Lorenzana began with a puzzling image where the audience needed to go through the whole film to decode it with the knowledge they gained in their mind to fill in the gap: what is that gate for and who is behind? Therefore, after watching the film, we can perceive that the substance of “The Cask of Amontillado” has been kept and that we eventually feel the same severity of Montresor’s suffering and his vengeance as we did while reading the original 5 work.

 Not only this but also irony and symbols, as they were prevailing in the original text, they are domineering elements in this film as well, nevertheless they have been conveyed with different elements. As far as freedom of expression and its relation to restriction is concerned, Lorenzana was successful enough in recapturing the original work in some way that both maintain the gist of the source text and translate this substance as per his distinctive style. Hence, fidelity does not restrict the freedom of expression in a way that enchains the cinematic content. As a successful director, there are varieties of alternatives that allow expressing freely along with preserving the soul of the source text.

 Filmmakers are in a constant development of their own style. Inspiration is of crucial importance in their lives, without it they cannot find their driving force. Artists breathe into other artistic works to generate reactive products. In other words, adapting a film is by any means a reaction or response in its own right. Therefore, it is worthy to say that the overarching message does not evaporate throughout the process of adaptation, as long as the director keeps its core. The core here is the subliminal stream that pulled the director in the first place, it was the chief reason why he wanted to adapt the film. However, since artists tools differ in respect to tendencies, personal interpretation, and stylistics vision. The question of fidelity will never evaporate following the fact that filmmakers cannot penetrate the minds of readers and answer every expectation their created in their minds. However, what we should perceive here is adaptation as some kind of artistic exchange or an intertextuality pursuit that gives a new reading every time. Therefore, the audience should widen their horizons and expect different readings every time they are exposed to adapted works.

Friday, December 08, 2017

joseph campbell hero with a thousand faces


Since its release in 1949, The Hero with a Thousand Faces has influenced millions of readers by combining the insights of modern psychology with Joseph Campbell’s revolutionary understanding of comparative mythology. In these pages, Campbell outlines the Hero’s Journey, a universal motif of adventure and transformation that runs through virtually all of the world’s mythic traditions. He also explores the Cosmogonic Cycle, the mythic pattern of world creation and destruction.

As part of the Joseph Campbell Foundation’s Collected Works of Joseph Campbell, this third edition features expanded illustrations, a comprehensive bibliography, and more accessible sidebars. 

Khadijatoo Aadi, the Guelmim filmmaker on the spot light .

                                                                       Khadijatoo Aadi

                                  Khadijatoo Aadi is a Moroccan young media girl trudging along to the world of  filmmaking .Miss Aadi has a certain vision in life and she is coming with certain steps to the light of entertainment especially movies .Her first move was her adaptation of Najid El Mahfood trilogy El Ayam to a short film  called Secret of a journey . Her style of work is classic and astonishing and is using slow rhythm in montage and great pacing to depict her protagonists .

                                       Now, Khadijatoo is preparing her second short film called Abraz  written by Noureddine Boukhsbi  and produced by Allal El Alaoui via his film company called Cinema and Movies .The idea of this short film is inspired by her Saharian culture, namely Guelmim , her beloved town she has been growing . Miss Aadi is 32 years  old and is now studing at Ibn Zohr University in Agadir, Morocco  where she gets her professional license in cinematic analysis and media in which she is hoping to get her master. Khadijatoo has worked in a film documentary called Semmara with Said Azar.

   أبراز سيناريو by allal on Scribd

Sunday, November 26, 2017

Feminist Films between Theory and Practice by Rabii El Jawhari

More link of El Jawhari :

The cask of Amontillado by Allen Poe

by Sanaa El  Alaoui

            This short story is  about revenge and murder and written with great art as it contains
narration ) the voice of Allen Poe (  , precision ) related literary words(   pace ) continuous rhythm in
telling this brilliant story (  and conflict with two everlasting protagonists .

            Surely , this story is narrated by Poe without giving us  a clue why Montresor wants to kill
Fortunato , two symbolic names carefully chosen by the writer art of telling his story . Fortunato is
an  ironic name that stands for fortune and luck   . In the contrary, Fortunato has no chance to escape
from a terrible death already plotted by Montresor . Montresor is also an ironic name, which means
secret treasure and surely Montresor is too much secretive and an inner person motivated by
revenge and murder and this is revealed by him in this confusing sentence “ The Thousand of
Fortunato I has borne as best I could ; but he ventured upon consult , I vowed revenge “ it means
that Montresor is a well educated person, positioned in good stature , I am injured many times by
Fortunto . Although in filmic adaptations, some filmmakers depicts Fortunato as a slave or valet ) see this link ( . 

            It really depends on how one reads this powerful story .Filmmakers or screenwriters write and
rewrite Allen Poe story according to their own imagination and of course, styles vary in treating the
theme, the structure and the plot of the story.

             In the structure of the story, Montresor works out a plan very carefully to murder Fortunato ,
he must take him to the vault , already a metaphoric place of darkness and buried death of the family
In my point of view , this is the major inciting incident that motivates the writer to lead the
protagonist to the vault . By the way, Montresor is an evil man , an opponent and an antagonist in
the story .

              We have conflict between two characters .One is very drunk, fortunato , and Montrsor  is the master mind of plotting the death of his mate . The mysterious journey takes awhile as Montrsor
tries to convince Fortunato to taste the wine of Amontilado . Fortunado is a man of vanity and pride it is his secret weakness , while Fortunato is a rich man who believes in himself . He knows that his  deed will succeed .He suggests that there is a much better connoisseur for tasting wine and of course  Fortunato , because of his pride, he says that he is the best  connoisseur to taste wine , and  this is  exactly what Montresor wants to hear from his enemy, choosing his own death .


Saturday, November 25, 2017

Hug by Siham El Alaoui

In Collaboration with Eddy Lovaglio and Il Maestro Riccardo Moretti, Cinema And Movies , a production company based in Rabat Sale and the Parma international Music and film Fetival  have produced a short film called Hug directed by Siham EL Alaoui and produced by Allal El Alaoui .

This shortfilm will be released on the first january 2018  and it is shot in Kenitra in which too many institions have supported the idea just like CCM , National Security of police and Council of Kenitra .


On a grassy side near an ancient cemetery, a huge tree descended on a moldy house, filled with filthy scavengers dumped on the filthyly images of the adjacent neighborhood. In the deep, this road leads directly to a tomb with a green dome, a lonely old man, homeless, appears among filthy sacks, we do not know his past and he seems to have no one to hug him.,

 All passing by him are indifferent whenever someone passes  in front of him and hug someone else, this escaltes  his grief . But the surprise is that this old man and after passing  some police men ,we happen to know that he has made several immigrants come out of the shabby house who apparently have been hiding , Syrians and Africans who surprise the old man with a beautiful  and passionate hug.

Wednesday, November 22, 2017

Noise and fury by Abdellah Zerouali

Noise and fury

by Abdellah Zerouali

The current Moroccan cinema is like a baby who cries all the time and starts screaming for no specific reason. We do not know if it's because of his teeth starting to grow, or if he's just hungry. Because in our country, babies are as greedy as adults. At home, there is food and drink, as long as you know how to do it. But those who chose the profession of filmmaker, by vocation, did not know in what galley they were going to sail. Arrivism, favoritism and unfair competition are now commonplace. To situate the phenomenon of cinema in space and time, it seems to me necessary to appeal to historical considerations.

1 / In the middle of the last century (1956) France and Spain renounced their respective protectorates over the Kingdom of Morocco. Popular resistance was for something, but it was not just for that reason. France wanted to devote itself to the Algerian war and Spain wanted to keep the Moroccan Sahara known as "Western Sahara". It was at this time that it was necessary to create a Moroccan cinema, given the popular enthusiasm that would have welcomed it. The population of our country was estimated at only 8 million (now 45 million) and yet the national film attendance was going well. Moroccan television did not exist yet but it would not have changed because the cinemas were programming foreign films of popular and high quality nature.

2 / Today we want to recover the cinemas that have closed their doors and even create others. But we do not know how to do it. Yet it is simple and possible. It would be enough to produce popular films, intended primarily for the general public and not only for festival juries. Unfortunately, when you try to "get the cake and eat it" you always end up having neither one nor the other.

Sunday, September 10, 2017

African cinema and the future of a continent

African cinema and the future of a continent

By   Abderrazak Ezzaher 

One of the rare cases in which the continental identity is attributed to an art form without risk of ambiguity is that of African cinema.
African countries, related to modern inventions, have known the same fate and nearly during all periods. Indeed, the 20th century, the era of invention and promotion of cinematographic art, was also the century during which Africa was almost entirely under foreign colonization. During this period, the continent underwent and consumed cinematic products of the colonizer. The latter has used it to assert its policy and ideology.

After the independence movements, we witnessed two main trends:
The first one was about the departure of many young people from African countries freshly liberated from the burden of the colonization to Europe namely France, the Soviet Union and Ukraine in order to pursue their education in cinema, and that is the case of the veteran Souleyman Cissé, Merzak Alouach, Gaston Kaboré…
The second trend was the direct interference of the state in film production and Algeria remains one of the examples illustrating this situation. For years, the Algerian state was the mere African country that produced films. As a result, we witnessed a real emergence of cinema and this lasted until the 90s.

For other countries, a part from South Africa, Egypt and Morocco recently, cinema suffers from problems of production and distribution. African film budgets were too much limited and constrained, therefore, the artists would make concessions sacrificing art. However, certain filmmakers have known, apart from all the difficulties, how to sign works that have marked the receiver either from Africa or elsewhere. We cite examples of films: From Mali/Mauritania; Abderrahman Sissako (Waiting for Happiness, Timbuktu), Mohamed Salah Haroun (Abouna) from Tchad, Haile Gerima (Teza) from Ethiopia.

During the last two decades, we witness a new wave of directors who have chosen to express themselves through the 7th art by taking the same paths of formation as the pioneers and sometimes appearing in the most prestigious festivals of the world: Nabil Ayouch in Cannes, Hicham Lasri in Berlin, etc. At the same time, new practices have emerged, such as low-budget video films, in which the case of Nigeria is known as Nollywood and produces up to 200 films a year, distributed on the local market.
As far as the cooperation of South - South is concerned, speeches abound in this sense and acts are rare and the example to be capitalized and put forward is that of Morocco which opened its laboratories of the CCM to all the African producers to carry out the work of post-production.
To conclude, the difficulties facing African cinema, which are mainly linked to production and distribution, are manifestations of the reality of a continent.

Saturday, July 15, 2017

How to write your first script in Moroccan slung ( Part 11 )

                                                    Allal avec El Ansari ...

How to write your first script in Moroccan slung ( Part 10 )

                                                                 Allal Et Aziz

Thursday, July 13, 2017

How to write your first script in Moroccan slung ( Part 9 )

                                                                 Allal EL ALaoui

Tuesday, July 11, 2017

How to write your first script in Moroccan slung ( Part 8 )

                                                                     Allal EL Alaoui

Sunday, July 09, 2017

How to write your first script in Moroccan slung ( Part 7 )

                                                                         Aziz et Allal

Friday, July 07, 2017

How to write your first script in Moroccan slung ( Part 6 )


Tuesday, June 27, 2017

How to write your first script in Moroccan slung ( Part 2 )

        Allal El Alaoui

Thursday, March 30, 2017

Questions on Moroccan Film Industry

By Allal El Alaoui

        Some say that Moroccan cinema is abducted . I personally do not think so , why ? because we have to go back to our history in order to look for this matter as to know   whether we have an industry of this art  or not . Do we have free industry of cinema ? No, we do not . Yet, we have a static one, that is to say our government funds Moroccan filmmakers and believe me too many foreign countries envy us of this political decision and thus we have a governmental cinema spearheaded by free creation of cinema-goers. So, Moroccan cinema is not abducted but it is not yet internationally acclaimed and marked, though some movies make the difference and become more controversial.

        Recently, there have been debates on how to make good movies in quality rather than in quantity. We produced more than 25 films per year. That is a good and confortable position among Arab and African countries. Former minister of culture Mohammed Achaari, states that we should have a national conference on drama because what has been presented on national TVs is extremely poor in quality and of course this is related to the movies too. Driss El Khouri , Moroccan satire and an acclaimed  novelist  says why do we have to write in a society that does not read ?  We have also cinema- goers around just like Driss El Korri and Abdellailah EL Jaouhaoui, Noureddine Boukhsibi and more cinema-goers saying that why we produce films knowing that we do not have cinema –theatres? It is a national debate that still continues to be discussed and thought about.

         In order to have a cinematic industry in Morocco, the private sector has to be involved. If not, the government should raise funds to encourage new filmmakers to make films. Creation and artistry  in movies come from having wide imagination, training and continued training and working as much as possible in national and international industries. We must also control production companies that only have the mentality of looting and stealing .No doubt , filmmakers should be motivated and encouraged because of their visions and creations of their society. Cinematic styles must also  be respected and highly praised because it marks the evolution of cinema in our country .


Friday, February 17, 2017

Late Spring(1949)- by Yasujirō Ozu

Written by Noureddine Boukhsibi , a Moroccan film critic

Some cinematic genres that live up to the rare artifacts and impress   cinema-goers is  "Late Spring"  (1949) by  Yasujirō Ozu . The great Japanese film director , Yasujirō Ozu (1903-1963) is one of these tapes who makes the difference .

 Of consistently Yasujirō Ozu, which is considered by a cinematic Taiwanese "Hou Hsiao-Hsyanj" truly as  cinematic mathematically mathématicien, creature that formulates and arranges things carefully, as if he were engaged in an interview for the game of chess,

      Yasujirō Ozu sculpts filmfilming  just like a geoligian who digs carefully the earth to uncover truth . In the first level Ozu provides superficially simple story level, and  often tackles levels of  family, the past,and generational conflict ... but it's soon to reveal the level of my more authentic and deeper with a succession of scenes and shots, draw up at the end of the tape.

      Away from the free pseudo-emotions, Ozu is distributed to a large film lapsed coldly and calculatedwith  the beauty of the utmost precision, taking figures of his films in clashes of quiet  dialog , but harsh, revealing a great sense of  creative aspects of dark depths of human beings .

      But this exposure is achieved through a game and consecutive confusions  overtones where the language of life mixed with the language of the picture .. no meaning to life when Ozu outside positioning of the image or in isolation from what look from here or there. And the definition of image has remained permanently on the ground level. In his film"Late Spring" stand in the surface layer of the story when the story of a girl who lives with her father, . The girl refuses to  marry in the beginning, and cling to stay along with her father and dedicated her life in his love and service. While his father urges her to marry revealing his personal desire to marry in turn. Finally, the girl changed her mind .. give in to her father's position and agree to marry the person of one's choice.

     While the story seems painful to some extent, the story of separation and harsh farewell between a father and his only daughter, Ozu displays them on the sidelines as usual, coldly and in an amazing calm. Behind it captures the great humanitarian Ozu creative and exact his sense of the paradox of human existence in the aspect of the relationship of human happiness. Noriko , her daughter , says addressing her father: "I am happy here..staying with you and near you. I do not want to get away from you .... the girl  loves him, while their father confirms that happiness is created by the will of love lurking in the depths of the human. But the father admits in a moment of harsh thought : "When you have a girl, if she did not marry then it is a problem, and if  she is  married then it is also a problem" ... Ozu is creative at picking ironic existentialism with difficulty..In his film "Tokyo Story" (1953) recognizes that the father, after he  is disappointed by  his sons, admits to his friend, saying: "when we lose our children we are unhappy, and when they remain alive , they  move away from us" .. the irony seems to level the apparent simple social paradox or unusual, but in depth the paradox of life gives no solution As long as the essence of  humain existence . as long as we can not change, but we can not surrender to them, or at best accepted at the lowest possible losses ..

      But Cinema of  Ozu is above  the spiritual of  beauty of cinema. Ozu celebrates the image as if we are in a procession to love rare angels. Wim Vinders says that Ozu is the biggest filmmaker in the history of cinema .. The status of the harsh human life, and is the status of the inevitable inescapable, do not prevent the celebration of the beautiful image and beautiful upscale art. So Ozu in "late spring", as in  his most other films, uses plastic plates in the very consistency and  optical precision , flow pretty smoothly through intercut scenes .  Ozu depicts his cinema between slow and depth to build beautiful scenes that reminds us of  Bergman and Antonioni and Tarckovski.

       Ozu does not care too much of cinematic structure  and  plot fragmented, the more they pay attention to small details of his care, the footage that monitor the vacuum and the silence that goes to the depth of things in simple language and  dialogue is far from theoretical language that we find usually in the cinema of filmmakers such as Pasolini and Godard .
      But this transcendent beauty that celebrates  Ozu  is also reflected by his choice of representatives. Heroine of the movie "Late Spring" is represented by Japanese Setseko Hara, a deposit actress seems to come to life with great joy through her smile. The beauty of his actress is the beauty of spiritual rare in cinema .

  "Late Spring" begins to meet the liturgical majestic group of women in a meeting at intimate ritual of Japanese heritage . Ozu  captures these feminist circle as if we are within  the devotional, but after a trip with the girl, Noriko through the succession of scenes, downhill towards the necessary social inevitability of accepting to marry against her will,  Ozu get us across the mosaic  and variety of visuals that are focused where especially to monitor spaces of the  familiar,  it get us trip finally to a cruel end. This is the fundamental confusion that  Ozu  oushes inside .