films.
His first film was
The Sword of Penitence.
Ozu was 2 4 years old.
This was four years after
he'd started working for Shochiku.
Mrs. Akira Fushimi,
your husband's first scripts with Ozu -
Couple on the Move
and Days of Youth.
Back then, directors got along very well
with the writers, didn't they?
Yes, very well.
If they couldn't make it home,
they'd stay at each other's houses.
Most of them
were in their 20s or 30s,
so for them, filmmaking was like
having the time of your life.
Yes. He used to come by
to wake us up at 1 0.:00 at night.
- Ozu did?
- Yes, leading the others.
He used to show up singing loudly
in front of the house.
''Well, Ozu's here again. ''
We would open the window,
and he'd yell, ''Wake up. ''
So we'd open the door
and in they'd come.
Usually they didn't
drink that much, though.
Hejust sang to wake you up?
At this point, Ozu's partnership
with cameraman Hideo Mohara
had already begun.
They went on to make
the ''college''series of films-
I Graduated, But..., I Flunked, But...,
College is a Nice Place, and so on.
In those days,
there were two papers.:
The ''Sunday'' Daily
and The Weekly Asahi.
Those were the only two back then.
The hero graduates from college,
but there are nojobs.
His fiancйe comes to town.
So he pretends he has a job.
He leaves the house with his lunch box,
then goes to sit in a field and eat.
For him,
every day is like Sunday.
That's what
The ''Sunday'' Daily represents.
There's a close-up
that conveys the whole idea.
YASU SASAKI - SCREENWRITER
I still remember how well that worked.
He used that newspaper well.
Besides that, there's pathos.
From that time on, critics noticed
this quality in Ozu's films.
Almost all of his films were like this.
Years later, Ozu said,
''I made a lot of films about students.
Ayoung director using young actors
I FLUNKED, BUT...
is usually limited to stories
about students or company clerks.
Young clerks are always limited
to certain kinds ofjobs.
And back then,
students didn't clash with the police.
So they made good material
for light comedy. ''
Ifbittersweetness itself
had a visible form,
it would be found
in Ozu's films of this period.
Though he said he was merely
using students as comic material,
within the context of the worldwide
economic depression of 1929-1932,
Ozu's films attempt to cast
a positive light on harsh realities,
a defining characteristic ofhis work.
TOKYO CHORUS
The student series was followed
by a group of films about college
graduates entering the working world,
portraying them
with a touch ofhumor and pathos.
It's Papa.!
I don't think so.
That can't be your father.
The dresser's totally empty.!
I only learned about my father
through what Mr. Ozu told me.
During filming, Ozu would tell me
what he was like.
MARIKO OKADA -ACTRESS
That's when I learned more
about what kind of person he was,
how he liked to collect antiques.
He liked old watches.
Ozu collected old lamps,
so they had something in common,
the same hobby.
Being a native of Fukagawa,
Ozu had a deep appreciation
for the people of the area.
This made possible his Kihachi series.
The Kihachi series,
people like Kayan and Nagayama.
VOICE OF YASUJIRO OZU
I was born in Fukagawa.
There were a lot of people like

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