show my pain, I was supposed
to go to the sewing machine,
wind the measuring tape three times
to the right, twice to the left,
let it all out, and wind it
three times to the right again,
then swallow hard once -
all without any lines to speak,
and all in a complete daze.
But I just couldn't get it right.
He must have made me
repeat it 60 times.
I didn't know
what I was doing wrong.
I think basically I was paying
too much attention to the tape measure,
and Ozu was waiting for me
to forget it.
When I saw the finished scene,
it was a real eye-opener-
how clearly those simple actions
expressed the deep sorrow
of a girl who has lost her lover.
In retrospect, I realized
it had been a very valuable lesson.
You're beautiful, Michiko.
You really are.
Shall we go, then?
The set was so quiet
you could have heard a pin drop.
I took my place, thinking,
''I mustn't let the tension get to me.''
Every single action was
strictly prescribed -
from how I carried the glass to my mouth,
to how long I drank, to what I said.
There was a rigid framework
for everything, which seemed confining.
But it was also fun to work
within such tight constraints,
to see how I could express
the person I was within those limits.
I felt like I learned a lot.
How much did you borrow?
Fifty thousand yen.
Borrowing more doesn't mean
you can buy things like that.
You're always spending money
on something or other for yourself.
No, I'm not.
Yes, you are.
There are things I'd like, too,
you know. But I do without.
Take them back.
It's too late. I can't.
Yes, you can.
Take them back.
To begin with, golf s not meant
for low-ranking salarymen like you.
On the rare day you come home early,
you're too tired to do anything anyway.
So forget golf. Give it up.
An Autumn Afternoon
was my only film with Mr. Ozu.
KYOKO KISHIDA -ACTRESS
I remember a scene where I come in
carrying something and have to turn,
and my natural instinct -
perhaps it's not so natural -
but my instinct was to avert my eyes
a bit as I turned, like this.
But Mr. Ozu told me
I absolutely mustn't lower my eyes.
When I turned, I was to keep my gaze
level all the way around.
It seemed so fresh and original,
like he was telling me to just keep it
simple - no distracting flourishes.
I've always wished that hadn't been
my only film with him.
Shall I play your favorite march?
March? Sure, play it.
Let's drink up, Captain.
How I love it!
Come on Captain. You salute, too.
Not like this.
Like this.
Clear weather ahead,
with seas remaining high.
In attack and in defense
Its steel sides lean out
Stop it and go to bed.
A floating fortress standing tall
On it we can rely
What are you muttering about?
Hurry up and come to bed.
I'm going to bed.
Mind you don't catch cold.
I'm already asleep.
We have to get up early, you know.
I'll cook you breakfast.
Utterly alone, huh?
The floating fortress will before
the rising sun protect...
LATE SPRI NG
A daughter marries,
and a father is left behind.
Late Spring had already shown us
a similar figure.
In this lonely, aging father,
we can see life's uncertainty.
THE ONLY SON
Could this then be the mu
that Yasujiro Ozu kept trying to express?
On December 2, 1962,
Ozu went to Mount Koya with his siblings
to lay his mother's ashes to rest.
He described the poem he wrote about it
as ''a nursery song for the aged. ''
RECITED BY KYOKO KISHI DA
''Pilgrimage to Koya
To toss my mother's ashes
we came to Koya's mount.
Windblown snowflakes fell
from the clear blue sky
on the towering cedars.
Sunset rays angle through the trees
to light the mossy gravestones
of ancient ministers and regents.
Apoor woman's candle
flickers in the Inner Pavilion.
Incense smoke

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