By any modern conception of film-making Yasujiro Ozu's approach here seems relatively unsophisticated and basic, but the simple appearance belies a keen mindfulness that's plainly admirable. Ozu demonstrates an outstanding eye for shot composition that is at once precise, spartan, and unremarkable, yet underhandedly artful and aesthetically pleasing. While 'Nagaya shinshiroku' is well made - the crew put in good work - and the story is duly interesting, it's nonetheless true that the filmmaker's orchestration of shots and scenes is the most readily impressive aspect of the feature. By that fundamental standpoint, it's a small pleasure to watch, especially in light of some of the scenery we get to take in over the course of these 70 minutes.
In fairness, such apparent uncomplicated visual presentation pairs neatly with what is a rather straightforward narrative. We're greeted with the fringes of a city pulling itself together in the wake of war, a peek at the lives of those living in a particular range of housing - and in their midst, the introduction of a lost child. There's not much to it on the surface, yet as the length progresses and other elements peek through, ever so slowly a deeper, quietly lovely story takes shape, and appreciable broad themes. Nothing about this movie is immediate or grabbing, though for those able and willing to sit and absorb, what gradually unfolds is warm, inviting, and satisfying. Through it all the cast give fine performances, though of them all Choko Iida certainly stands out most for a gratifyingly nuanced bit of acting in what becomes the central role.
The last few minutes become a little heavy-handed in their treatment of the themes, made all the more notable in contrast with the pointedly subdued tone the picture has otherwise adopted. Still, provided one is on board with a title that is so muted and measured in its storytelling, 'Nagaya shinshiroku' really is a splendid, rewarding viewing experience. I can understand how it won't appeal to all viewers, as it's a piece that is quite leisurely in imparting its tale. Ultimately that's part of what makes it so worthwhile, however, with Ozu's arrangement of shots placating us in the meantime. I don't think this is so essential a film that one needs to go out of their way for it, but if you have the chance to watch, this is well worth such a small amount of one's time.
