Sono nato, ma...

An early family drama by Ozu that starts as a coming of age-`Japanese 400 blows'- and develops into a deep essay about identity, acceptation, self-respect, honor and exemplary. Ozu has a unique style for filming rituals, and these rituals are the dynamos of Tradition. In portraying a fractured relationship between a father and his sons, Ozu reflects on the transition between an old dying order and the arrival of a new one (both kids dream of being officials in the army, some ten years before Hiroshima). This works also as a metaphor of Japan on its way to technocracy, westernization and materialism, with its small bourgeois suburbia, the ever-passing trains and even home movies and child games where kids cross themselves in the Christian fashion. There's an unforgettable traveling shot with a choreography of yawns, some recognizable `Tatami' angles, and other technical achievements that prove that Ozu mastered his craft very early on (in fact, though silent, the film looks years ahead that many contemporary Hollywood productions). A rare film and indeed a very accessible one to the complexities of the cinema of Ozu.