I guess the Tokyo Story comparisons are obvious — it clearly is an inspiration on that film (Ozu loved his American melodramas, as is clear enough from film posters that show up in his early films) — although stylistically it’s rather different of course, but it hits just as hard in many ways. There’s a lightly comedic way it has of setting up its characters and their situations, and then when the families get to fussing and arguing, it could be straight out of 50s Sirk or 70s Fassbinder in the bitter undercurrents, the glances shared between the elderly mother’s son and daughter-in-law, the wearied sighs and desperate attempts to shift the burden of care amongst one another. But actually it’s the kindness that strangers and even sometimes family show one another that makes it most difficult to take, because nobody here is trying to be horrible or difficult, and the way the elderly couple at the film’s centre are forced apart is almost inevitable once it begins. They do get one last chance to revisit their youth and their love, but by the time the train trip beckons, there’s an overwhelming sorrow that puts it firmly among even the Criterion releases that precede it (films like Germany Year Zero and Hunger). Somehow even the sentimentality and humour makes it even more bleakly relatable, because tomorrow is always coming, and at an ever faster pace.
FILM REVIEW: Criterion Collection
Director Leo McCarey; Writer Viña Delmar (based on the play by Helen Leary and Noah Leary, itself based on the novel The Years Are So Long by Josephine Lawrence); Cinematographer William C. Mellor; Starring Beulah Bondi, Victor Moore, Thomas Mitchell, Fay Bainter; Length 92 minutes.
Seen at home (DVD), Wellington, Sunday 6 February 2022.