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Fouad Zouirik
Japanese cinema is keen to keep pace with its western counterparts, preserve its classics stored in memory, and try to blend the two to reach the world. It has succeeded and succeeded with the solid foundation on which it was built. It dates back to 1899. And its diving into the human worlds through its elements inspired by Japanese society and its own traditions.
Japanese films have penetrated several international films. Three Japanese films have been on the list of the world's best cinematic works throughout history, all of which were produced in the 1950s, including Yasukiro Ozu's Tokyo Story.
The new generation of directors has not been less successful and famous than the generations that preceded them, but they do so thanks to the possibilities available to them today, especially the generation of the nineties, which has captured the largest proportion of the emergence and spread, including director (Currie Ida Hirokazo) Films including "Maboroshi no Hikari" (1995), which won the Golden Lion Award at the 1995 Venice International Film Festival, the film "Wonderful Life", "The Distance" and "No One Knows" Participation in the official competition of Cannes Festival.
Japanese cinema achieved this popularity thanks to its first-generation pioneers, who witnessed its early development and had the great hand in building its basic daughter. Among these directors was Yasujiro Ouzu, who achieved a sense of belonging to the medium that emerged from him. Japanese cinema has a simple, human-like theme that is consistent with the Japanese social style.
Ozu takes you to another world that is very calm, full of emotions and feelings flowing from a beautiful time ago. The characters in his work are characterized by satire and calm even in their convulsive dialogues. His work revolves around conservative families and Japanese families. Many of his films go to criticize Western modernist influences the Japanese youth at the time, and their threat to Japan's conservative society, used the names of the chapters in the titles of his films, and the city of Tokyo was interested in several works, including: "Woman from Tokyo," "Journey to Tokyo," "Sunset in Tokyo."
The director's vision in his films accompanies his artistic style in dealing with them, and within them there is a kind of paradox between the structural structure and the formal appearance of the style followed. The director directs us to a silent creative workshop that deals with demolition first and then construction again, based on interactions and cultural clashes between two generations within the same family, Conservative generation and rebellious generation.
Not only does the simple and simple story, but it is haunted by a light shock that makes the viewer gradually integrate into his charming worlds, a unique style that intervenes in the story until it captures the attention of the recipient without being severely shocked and dominates the poetic discourse of the Ouzo language without crashing.
His "End of Summer" (1961), the prehistoric film at the Rapture, confirms his dedication to this style. The film gives you an opportunity to reflect on the beauty and fun of life through the traditional Japanese family, It is a continuous and quiet baronial image that prompts you to relax and enjoy silence, the silence of a normal life away from the hustle and bustle, even if there is suffering no more than being part of the inevitable law of nature.
The dramatic events of the film are aimed at the old man, the head of the family, who bears full responsibility for their support, but his practical affairs have not been good. He is in a financial crisis that may haunt the factory he owns. The father tries to get out of this dilemma by searching for solutions The father is living a second life away from his family. The latter, who is trying hard to discover his secret, another life called Love, is living her story with his former mistress who He met her by coincidence after his wife's death, to bring back their emotional memories The previous, all these successive events based on the complete calm and slow pace of drama, even the tragedy that finally hit the family with the death of the father, was quite calm and very slow.
The film did not enter into symbolic and inspirational complexities. It was a direct and clear speech, so that its way of life was simple in its natural decoration and spaces, and with all this, one feels especially strange about such an atmosphere of a total integration into a long-standing Asian culture with its dreamy voices, tempting rites, and charming appeal.
As we mentioned earlier, the style of Ouzou tends to criticize some negative phenomena in Japanese society, including the bias of young people to Western culture in all its forms, which Ouzu in this film as a culture of negative and trivial, through the daughter of his mistress, , Of dress, behavior and behavior ... which seem strange to her compared to other characters in the film, all this increases the height of the semantic signs of the disadvantages of this culture.
The reality of the reality is easy in this film. For example, the death march of the family did not blow up the scenes. The rhythmic construction of the events did not destroy the cruel suffering and deep tragedy we see in the rest of the films, but rather as a routine element in life that does not require exaggeration. The father dies at the end, but life continues ordinary after him, although not shown directly but the signal was
