The Only Son

I’ve been saying for a while that Ozu really needed the sound era to come to Japan, and in 1936, he was finally able to make a sound film (though, reportedly, the lost Until the Day We Meet Again was a sound film, but it’s lost and didn’t contain dialogue being only music and sound effects). He was too heavily relying on dialogue in his late silent films, his writing requiring a lot of specificity in character interactions that ended up using intertitles to break up the action and bring the ...