Good Morning
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By the time he made Good Morning in 1959, Yasujiro Ozu had completely eliminated camera movement from his uniquely simple but elegant directorial style. He chose instead to emphasize static but meticulously purposeful compositions that rarely, if ever, wavered from their recognizable low-angle perspective. In Good Morning, this observational approach is put to sublime use to establish setting (a late-'50s Tokyo suburb) and to view the world through the eyes of the film's central characters, two young brothers.
This film describes the heroic battle that two little boys fight against their father who refused to buy them a television set. Their father claims that television will create "a million idiots," while their mother is angered by the boys' neglect of schoolwork in favor of watching sumo wrestling on a neighbor's TV. It demonstrates that persistence pays off, no matter how fierce the resistance. In Ozu's hands, this sublimely simple conflict inspires a comedic exploration of Japan at the dawn of its electronic age, when consumerism and materialism are in vogue, salesmen solicit their wares in constant door-to-door visits, and even the purchase of a washing machine can prompt neighbors into a frenzy of gossipy speculation.
Filming technique used by Ozu, even though old fashion, but makes a tremendous impression on the movie. Throughout the movie the camera was not moved at all as if we, the audience, were sitting in the movie and made it as an intimate feel of oneself. Camera was always kept low-angled throughout the film as if we are observing people in there natural "human" way...