Must See Movie...

Great Film overall

Bad Acting and worse Bad Screenplay

Easily the biggest piece of Right wing non sense propaganda I ever saw.

Two boys begin a silence strike to press their parents into buying them a television set.Despite Ozu's reputation in the West as an austere and refined director, "Good Morning" does not shy away from depicting many of the neighborhood boys' flatulence jokes! Television broadcasting in Japan started in 1950, making the country one of the first in the world with an experimental television service. Cable television was introduced to Japan in 1955, in Shibukawa, Gunma Prefecture. This makes the story very timely. While considered a loose remake of Ozu's own earlier work, introducing TV as a part of the plot was very much a part of its time.

Ozu said he wanted to make a film about people's inability to express the important things, but natter on about unimportant gossip. This all comes out thanks to two boys that really want a TV. They enter into a vow of silence until their TV comes. This silence is misconstrued by the neighbours, who think their mother is angry at them. They begin to gossip amongst themselves and rumors soon start. Meanwhile, the young boys' aunt and teacher are attracted, but fail to act on their emotions. This is a lovely little film, filled with some great humor. Though, I must admit, there was a bit too much focus on the poo/farts jokes. The two boys, especially the youngest, are very cute and make their efforts to get a TV seem less brattish. It's really sweet to see how dedicated the parents are, and even though the kids are kind of mean, they do appreciate the gift in the end. There's no escaping Ozu's look at the clashes between old and new, with the TV looming over all procedures as something that will change life. A little gem, if not one of Ozu's classics.

This film is typical of the films of the Japanese director, Ozu, because it has to do with the conflict between traditions and modern life in this country. It also features his old fashioned use of the camera--with the typical placement of the camera just below the actors as well as it remaining stationary during the shots. However, unlike most of his films, this is more of a lite comedy and makes fun of social conventions and neighbors.The film begins with two simultaneous themes. First, a group of neighbor women are in a women's club and the dues they gave their leader seem to have vanished. While the lady is sure she turned the money in, the other women begin wondering what might have happened with the funds. Second, two boys are very upset because their parents won't buy them a television. And, when the parents are sick of hearing the kids ask, they tell the boys to be quiet. Then, in a form of social protest, the boys refuse to talk any more to anyone--even at school. The only time they talk at all is when they are alone together.Later, it turns out that the club leader's mother had misplaced the money and everything was okay. BUT, because the boys stopped talking to everyone, the leader of the club thinks their not acknowledging or talking with her is because the family is still mad about the money. So, the rest of the film consists of come misunderstandings that all come about due to the spunky kids.Overall, this is not a laugh out loud sort of film, but a droll little film that gives insight into life in late 1950s Japan. It's slow and gentle--just like all of Ozu's films but with a sense of satire that makes some points about the hazards of post-war life. Well directed and acted from start to finish.By the way, note the comment the one lady makes to her mother about Mt. Norayama--it's amazingly brutal and harsh, but also makes a point about alienation and the disintegration of respect of the elderly.

Ohayo carries an unshowy, wry humour close to the surface throughout, and entertains just by offering privileged access to 1959 Japanese suburban society, and its houses, streets and bars. The little boys driving the drama are comic to watch and act wonderfully. Their hunger strike and fart games are presented matter-of-factly, almost obliquely, and the humour is not so much understated as unstated altogether.The film also is apparently filmed at knee height. While most great cinematic breakthroughs pass me by without leaving a mark (so what if that was all one take?), this gives rise to a pleasingly Alice in Wonderland feel. More importantly, it puts you in with the boys in their scenes, and includes you in the dialogues between gossiping neighbours, and informal meals, which all take place seated on the floor.The result is quirky and accessible, and easy to like even for those who are not lovers of abstruse cinema.