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This is Ozu's last film, and it is wonderful. At first, I wondered if it could be even good. It has similar themes of other, amazing films like "Late Spring" and "Early Summer", both of which had the truly amazing actress Setsuko Hara, who is not in this film. However, this film is just about as great as them, since it has one of the best acting performances of terrific Ozu regular Chishu Ryu. He plays the father, a widower with three children, two sons and a daughter. It is no surprise to me that the daughter Michiko, played by Shima Iwashita and Akiko the daughter in law, played by Mariko Okada, have had such long, varied careers in cinema. They are great in their roles. There is a certain sass to both of them which really comes across in their characters. They are also both beautiful. The story also has a great sideline, in which Mr. Ryu's old friends help out an teacher, nicknamed "The Gourd". From there, you meet the teacher's daughter Tanako, a familiar face to all Ozu fans. I was deeply affected by Tomako, even though her role is small. I feel her sadness and loneliness. Another great scene is when the father meets up with an old armed services buddy and they go to a local bar and play a war march. They are a bit drunk, and they salute. Playing the barmaid is the great actress Kyoko Kishida, star of the great "Manji" and "Woman In The Dunes". I was deeply interested in the lives of these people, and find the film to be just wonderful, displaying the emotions that a great Ozu film possesses. This film is profoundly moving. I would not start with this film as an introduction to Ozu, only because "Tokyo Story", "Late Spring" and "I Was Born, But" are such masterpieces, but this ranks with them. A deeply profound, excellent epitaph from Yasojiro Ozu, one of the greatest directors ever, from anywhere at any time. See it, you will not be disappointed. Rest in peace, Yasojiro Ozu.

I have seen many visually beautiful and emotionally moving films, but not as many recently. An Autumn Afternoon is one of those primary examples. Meditative in its pacing it is, but it is never dull. How everything is made and written really makes an interesting and very rewarding experience indeed. It is incredibly well made to start off with, the camera is kept at low angles and is still, but for me this allowed me to explore and really admire the scenery and the framing which are very elegantly done. Kojan Siato's score is one of those soothing and unobtrusive scores that helps the audience to connect with An Autumn Afternoon's gentle mood. How An Autum Afternoon is written is also exceptional, as well as the gentle tone, the story has this great warmth, wisdom and humanity. As well as Ozu's meticulous as ever direction what is also great about An Autumn Afternoon is the lead performance, Chishu Ryu's performance is dignified and altogether very touching. In conclusion, not just one of the cinema's greatest swan-song but a masterpiece of a film also. 10/10 Bethany Cox

This was one of the first Ozu films I saw, and is one of my favorites. Ozu's themes - a family adjusts uneasily to the rapidly shifting traditions of life in middle-class, postwar Japan - are handled with great subtlety, and many dark ironies are to be found beneath the fragile quietude at this film's surface. This isn't just applicable to Japan, and this realization gives this film a sad sting that stuck with me long after the movie was over. Ozu's famous 'look' - no closeups, no crane shots, a still camera fixed at 3 1/2 feet off the floor or ground also gives this film an unforgettable grace and beauty. DVD please???

When I first saw this film it struck me as being a very unusual and odd little movie. The camera work was direct and straightforward, as if the director were composing a still life painting. With the passage of time I remembered this film not as a whole but as a series of vignettes, the sailor marching in the bar, the unrequited lovers waiting for a train on the platform, the father staring into his daughter's empty room. I have recently seen An Autumn Afternoon again, and was not disappointed. Each scene has an almost indescribable longing, an ephemeral quality that speaks to the beauty and sadness of everyday life. I love this film, it is a true work of art.

My favorite Yasujiro Ozu film is BANSHUN. And so, as I sat watching SANMA NO AJI, I quickly realized that this film is essentially a retooling of BANSHUN. Both films are about a devoted daughter living quite happily with her widower father. The father, however, realizes that the daughter is giving up a lot, so it's his goal to get her out and married for her own good. There are some differences, though, in the films. In SANMA NO AJI, it's not just the father but also the young lady's employer who sees a need for her to marry. In addition to taking care of her father, there also is a younger brother in the home. Still, it is essentially the same story with a few twists--and in color.

It's also highly reminiscent of many of the mid to late Ozu films in a variety of ways. Like his usual style, the camera is stationary and often is at floor level--with cuts instead of closeups. You may not notice this at first, but it's clearly the director's trademark. In addition, the film has the typical slow and gentle pace and is about the conflicts between modern Japanese life and tradition. In this sense, there's not a lot that's too new about the film other than a light and modern (for 1962) soundtrack--very bouncy yet gentle.

As for the film, the father (Shuhei) has a pretty nice life. He has a nice job, often goes out with friends to drink and Michiko (the daughter) takes care of his needs at home. However, as the film progresses he notices in other people's relationships that something is missing. In particular, meeting with an old school teacher from 40 years ago is a wake-up, as this old man also lives with his unmarried daughter--and his life is a bit pathetic. Shuhei is afraid that in later years, his and his daughter will have a similar relationship. So, he and his married son go about trying to arrange a marriage for Michiko--who does want to marry, though judging by her outward appearance and insistence that she wants to stay home and take care of her father, you's never know it.

Overall, it's an incredibly slow but satisfying film and a nice end to Ozu's career, as it is his last film. Well worth seeing and full of lovely and realistic vignettes. For those who are looking for action and excitement, you may not like this film. For those who can appreciate a slower and more deliberately paced film, this is hard to beat. A lovely portrait of life in Japan circa 1962.

By the way, is it me or did those people in the film really drink a lot?! Wow!