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Changed line(s) 4,9 (click to see context) from:
->"Eventually, parents have to give in."
''Equinox Flower'' is a 1958 film from Japan directed by Creator/YasujiroOzu.
Hirayama is a fairly ordinary Tokyo businessman in late middle age. He is not as hidebound by tradition as some, as indicated by the sage advice he gives a friend whose daughter has run away to be married. But when a man named Taniguchi shows up at his office one day and asks for the hand of his daughter Setsuko in marriage, Hirayama flips out. Angry over not being asked ''before'' Taniguchi and Setsuko chose each other, Hirayama refuses to consent to the marriage. It eventually becomes clear that his daughter is going to get married anyway, however, and Hirayama is left to make peace with his daughter's wedding and Japan's rapidly changing culture.
''Equinox Flower'' is a 1958 film from Japan directed by Creator/YasujiroOzu.
Hirayama is a fairly ordinary Tokyo businessman in late middle age. He is not as hidebound by tradition as some, as indicated by the sage advice he gives a friend whose daughter has run away to be married. But when a man named Taniguchi shows up at his office one day and asks for the hand of his daughter Setsuko in marriage, Hirayama flips out. Angry over not being asked ''before'' Taniguchi and Setsuko chose each other, Hirayama refuses to consent to the marriage. It eventually becomes clear that his daughter is going to get married anyway, however, and Hirayama is left to make peace with his daughter's wedding and Japan's rapidly changing culture.
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''Equinox Flower'' is a 1958 Japanese {{dramedy}} film
Hirayama (Shin Saburi) is a fairly ordinary Tokyo businessman in late middle age. He is not as hidebound by tradition as some, as indicated by the sage advice he gives to a friend whose daughter has run away to be married. But when a man named Taniguchi (Keiji Sada) shows up at his office one day and asks for the hand of his daughter Setsuko (Ineko Arima) in marriage, Hirayama flips out. Angry over not being asked ''before'' Taniguchi and Setsuko chose each other, Hirayama refuses to consent to the marriage. It eventually becomes clear that his daughter is going to get married anyway, however, and Hirayama is left to make peace with his daughter's wedding and Japan's rapidly changing culture.
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* MatchCut: There's an interior set--a hallway, with people passing in and out of the frame from left and right at the T-junction at the end of the hallway. The film then cuts to an exterior set, an alley with the same geometry and the same T-junction at the end, with people passing in and out of frame from right to left.
Deleted line(s) 19 (click to see context) :
* MatchCut: There's an interior set--a hallway, with people passing in and out of the frame from left and right at the T-junction at the end of the hallway. The film then cuts to an exterior set, an alley with the same geometry and the same T-junction at the end, with people passing in and out of frame from right to left.
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Changed line(s) 24 (click to see context) from:
* YamatoNadeshiko: A deconstruction of this trope, or at least documenting how the idea is changing, as proper Japanese women no longer have to ask their fathers' permission to get married.
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* YamatoNadeshiko: A deconstruction of this trope, or at least documenting how the idea is changing, as proper Japanese women no longer have to ask their fathers' permission to get married.married.
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Added DiffLines:
[[quoteright:350:http://static.tvtropes.org/pmwiki/pub/images/equinoxflowerstill2.png]]
[[caption-width-right:350:Can't get away from that teapot.]]
[[caption-width-right:350:Can't get away from that teapot.]]
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Changed line(s) 12 (click to see context) from:
* ColorMotif: After filming exclusively in black-and-white throughout a career that dated back to 1927, Ozu finally went to color with this film. And he went in whole hog, with a riot of colors throughout the movie, but especially the color red. There's red ''everywhere'' in this movie. Most prominent is a bright red teapot which shows up in every scene inside the Hirayama home, but there are other examples of red all over the place--purses, ashtrays, signs, barstools, placemats. Everywhere. This is no doubt referring to the "Equinox flower" which gives the film its name, and which is bright red.
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* ColorMotif: After filming exclusively in black-and-white throughout a career that dated back to 1927, Ozu finally went to color with this film. And he went in whole hog, with a riot of colors throughout the movie, but especially the color red. There's red ''everywhere'' in this movie. Most prominent is a bright red teapot which shows up in every scene inside the Hirayama home, but there are other examples of red all over the place--purses, ashtrays, signs, barstools, placemats. Everywhere. This is no doubt referring to the "Equinox flower" "[[https://en.wikipedia.org/wiki/Lycoris_(plant) Equinox flower]]" which gives the film its name, and which is bright red.red. The equinox flower often blooms around graveyards and is associated with death.
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Added DiffLines:
->"Eventually, parents have to give in."
''Equinox Flower'' is a 1958 film from Japan directed by Creator/YasujiroOzu.
Hirayama is a fairly ordinary Tokyo businessman in late middle age. He is not as hidebound by tradition as some, as indicated by the sage advice he gives a friend whose daughter has run away to be married. But when a man named Taniguchi shows up at his office one day and asks for the hand of his daughter Setsuko in marriage, Hirayama flips out. Angry over not being asked ''before'' Taniguchi and Setsuko chose each other, Hirayama refuses to consent to the marriage. It eventually becomes clear that his daughter is going to get married anyway, however, and Hirayama is left to make peace with his daughter's wedding and Japan's rapidly changing culture.
----
!!Tropes:
* ArrangedMarriage: The main story is about how these are going out of style in Japan. Hirayama gives a little speech about how his ArrangedMarriage to Kiyoko turned out well, but that the modern generation has the better idea in letting young people choose their own partners.
* BookEnds: Begins with workers at a railway station commenting on all the wedding parties arriving; ends with Hirayama on the train leaving to see his daughter and new son-in-law.
* ColorMotif: After filming exclusively in black-and-white throughout a career that dated back to 1927, Ozu finally went to color with this film. And he went in whole hog, with a riot of colors throughout the movie, but especially the color red. There's red ''everywhere'' in this movie. Most prominent is a bright red teapot which shows up in every scene inside the Hirayama home, but there are other examples of red all over the place--purses, ashtrays, signs, barstools, placemats. Everywhere. This is no doubt referring to the "Equinox flower" which gives the film its name, and which is bright red.
* {{Hypocrite}}: At the wedding which starts the film Hirayama gives a little speech about how young people in 1958 Japan have the right idea by choosing their own mates. And when his friend Mikami goes to Hirayama for advice after his daughter runs off to get married, Hirayama dispenses wise and conciliatory advice to both Mikami and the daughter. But when his own daughter reveals her wedding plans, Hirayama flips out.
* JapanesePoliteness: Can verge on StepfordSmiler at times, like when a friend of the family smiles broadly while telling Hirayama that she has "a chronic disease".
* OffIntoTheDistanceEnding: Ends with a shot of Hirayama's train puffing off into the distance, as Hirayama leaves for a conciliatory meeting with his daughter and new son-in-law.
* MatchCut: There's an interior set--a hallway, with people passing in and out of the frame from left and right at the T-junction at the end of the hallway. The film then cuts to an exterior set, an alley with the same geometry and the same T-junction at the end, with people passing in and out of frame from right to left.
* ParentalMarriageVeto: Hirayama tries ''hard'' to exercise this, not even for any specific reason, but just because he wasn't asked ahead of time. He eventually finds out that the veto is no longer in effect in Japan.
* SignatureShot: Contains all of the hallmarks of Ozu's style, including the tatami shot (shot after shot with the camera placed three feet off the ground, the height of someone kneeling on a tatami mat) and the shot-reverse shot with actors addressing the camera, used in conversations.
* SliceOfLife: Typical of Ozu, this is a low-key drama dealing with a father and his conflicting emotions as his youngest daughter is getting married.
* AStormIsComing: This is an Ozu movie so it's a very low-key, KitchenSinkDrama-style storm. But nonetheless the railway workers in the opening scene comment that "there's a storm warning out", foreshadowing the disturbance coming into Hirayama's life.
* YamatoNadeshiko: A deconstruction of this trope, or at least documenting how the idea is changing, as proper Japanese women no longer have to ask their fathers' permission to get married.
''Equinox Flower'' is a 1958 film from Japan directed by Creator/YasujiroOzu.
Hirayama is a fairly ordinary Tokyo businessman in late middle age. He is not as hidebound by tradition as some, as indicated by the sage advice he gives a friend whose daughter has run away to be married. But when a man named Taniguchi shows up at his office one day and asks for the hand of his daughter Setsuko in marriage, Hirayama flips out. Angry over not being asked ''before'' Taniguchi and Setsuko chose each other, Hirayama refuses to consent to the marriage. It eventually becomes clear that his daughter is going to get married anyway, however, and Hirayama is left to make peace with his daughter's wedding and Japan's rapidly changing culture.
----
!!Tropes:
* ArrangedMarriage: The main story is about how these are going out of style in Japan. Hirayama gives a little speech about how his ArrangedMarriage to Kiyoko turned out well, but that the modern generation has the better idea in letting young people choose their own partners.
* BookEnds: Begins with workers at a railway station commenting on all the wedding parties arriving; ends with Hirayama on the train leaving to see his daughter and new son-in-law.
* ColorMotif: After filming exclusively in black-and-white throughout a career that dated back to 1927, Ozu finally went to color with this film. And he went in whole hog, with a riot of colors throughout the movie, but especially the color red. There's red ''everywhere'' in this movie. Most prominent is a bright red teapot which shows up in every scene inside the Hirayama home, but there are other examples of red all over the place--purses, ashtrays, signs, barstools, placemats. Everywhere. This is no doubt referring to the "Equinox flower" which gives the film its name, and which is bright red.
* {{Hypocrite}}: At the wedding which starts the film Hirayama gives a little speech about how young people in 1958 Japan have the right idea by choosing their own mates. And when his friend Mikami goes to Hirayama for advice after his daughter runs off to get married, Hirayama dispenses wise and conciliatory advice to both Mikami and the daughter. But when his own daughter reveals her wedding plans, Hirayama flips out.
* JapanesePoliteness: Can verge on StepfordSmiler at times, like when a friend of the family smiles broadly while telling Hirayama that she has "a chronic disease".
* OffIntoTheDistanceEnding: Ends with a shot of Hirayama's train puffing off into the distance, as Hirayama leaves for a conciliatory meeting with his daughter and new son-in-law.
* MatchCut: There's an interior set--a hallway, with people passing in and out of the frame from left and right at the T-junction at the end of the hallway. The film then cuts to an exterior set, an alley with the same geometry and the same T-junction at the end, with people passing in and out of frame from right to left.
* ParentalMarriageVeto: Hirayama tries ''hard'' to exercise this, not even for any specific reason, but just because he wasn't asked ahead of time. He eventually finds out that the veto is no longer in effect in Japan.
* SignatureShot: Contains all of the hallmarks of Ozu's style, including the tatami shot (shot after shot with the camera placed three feet off the ground, the height of someone kneeling on a tatami mat) and the shot-reverse shot with actors addressing the camera, used in conversations.
* SliceOfLife: Typical of Ozu, this is a low-key drama dealing with a father and his conflicting emotions as his youngest daughter is getting married.
* AStormIsComing: This is an Ozu movie so it's a very low-key, KitchenSinkDrama-style storm. But nonetheless the railway workers in the opening scene comment that "there's a storm warning out", foreshadowing the disturbance coming into Hirayama's life.
* YamatoNadeshiko: A deconstruction of this trope, or at least documenting how the idea is changing, as proper Japanese women no longer have to ask their fathers' permission to get married.
