04 August 2004
The End of Summer
I just saw The End of Summer by Yasujiro Ozu.
It was filmed like a series of pictures, where each frame counts (really each frame). In several occasions, I told myself I wished I had taken such pictures. Yet, it was a movie. A new reference for my project RAW LOVE that should be shot in pictures and sound.
In that respect, the resemblance with In The Mood For Love is startling: the way the camera pauses on each frame, the importance of the detail, a certain perceptible strange strength of the characters, and surely the over use of clothing that makes the movie. Wong Kar Wai saw this movie probably many times but didn't let his characters to be as "daring" in some way, giving them other kind of obstacles on their way to love.
Ozu made The End of Summer in 1961. Its modernity is striking.
-- Joëlle.
I just saw The End of Summer by Yasujiro Ozu.
It was filmed like a series of pictures, where each frame counts (really each frame). In several occasions, I told myself I wished I had taken such pictures. Yet, it was a movie. A new reference for my project RAW LOVE that should be shot in pictures and sound.
In that respect, the resemblance with In The Mood For Love is startling: the way the camera pauses on each frame, the importance of the detail, a certain perceptible strange strength of the characters, and surely the over use of clothing that makes the movie. Wong Kar Wai saw this movie probably many times but didn't let his characters to be as "daring" in some way, giving them other kind of obstacles on their way to love.
Ozu made The End of Summer in 1961. Its modernity is striking.
-- Joëlle.
