I have seen practically every film available that were directed by Yasujirô Ozu. While he's considered by many to be a genius, I would say that he was an ultra-conservative--a man who developed some interesting techniques and story ideas but never really changed with the times. So, if you see an Ozu film from 1935, 45, 55 or the early 60s, there is an amazing sameness about them--something no other director ever accomplished. This is not criticism--this is fact. Ozu did stories about the Japanese family--and very often about widowed parents striving to get their now adult children married. And, his actual techniques didn't vary much. Although "Late Autumn" is in color (a few of his later ones were),it uses the same stationary camera and floor level for the shots. Ozu truly was a man who liked to do variations on the same themes and in the same styles! Because of this, while "Late Autumn" is expertly crafted, it really isn't innovative in the least other than making both the main characters women.

This story begins with a memorial service for a man who has been dead for several years. After the service, three friends of the deceased and his widow discuss her as well as her 24 year-old daughter. They love these women and it hurts them to see the daughter is still unmarried despite being a lovely person. So, the three schemers decide that it's their task to get the girl married--whether she likes it or not! Unfortunately, their plans don't always go as they intended and ultimately it takes one of the young lady's friends to give them some assistance.

Other than this film be very mildly comic as well as the use of the three friends, the film is yet another lovely and very deliberately paced Ozu film. If you haven't seen too many of his films, then by all means watch this one. If you have and feel you've gone down this same road many times before, they try a film by another fine director. Even die-hard fans would agree that there is an amazing similarity between this and most of Ozu's films--particularly his later ones.

Yasujiro Ozu was nearing the end of his nearly 35 year career, and a mostly great career it was too, when he did 1960's 'Late Autumn'. In fact he only did two films after. Those being 1961's 'The End of Summer' and his swansong 1962's 'An Autumn Afternoon' (one of the best swansongs in my opinion from any director),before his untimely death the following year aged just 60. His best films were amazing, and even when he was not at his peak he fared better than most.

'Late Autumn' is not one of Ozu's best films in my view and just slightly misses the extra something that his best work has. Do much prefer 'An Autumn Afternoon', 'Late Spring' and especially 'Tokyo Story', three of his justifiably acclaimed films. When saying that 'Late Autumn' is not one of his best, that is not meaning in any way that it is not a good film. Actually thought that it was still very good, with plenty of what makes his work so impressive evident.

Story-wise, 'Late Autumn' is very slight and somewhat over-familiar territory. It is not much different to what has been seen before with Ozu, being the third film of his to have the arranged marriage theme done a little more insightfully the previous times, and the early scenes drag a bit.

Also thought that some of the male roles were not developed enough and that they were not particularly interesting, outside of being well acted.

There is so much to love about 'Late Autumn' though. The female roles are far more interesting and quite meaty, again feeling real and not stock stereotypes and in situations that are relatable in any day and age. The mother and daughter relationship is very touchingly handled. Although the story is slight and not always perfect in pacing, it is also still very charming and has emotional impact and a sincere humanity. All the acting is great, especially from Setsuko Hara and Yoko Tsucksa bringing a lot of determined heart to their parts. Chishu Ryu excels in a role he always played beautifully.

Have no issues with the script either, which is very thoughtful, gently amusing, sly and heartfelt. Or with the sensitive direction from Ozu, which is also very clever visually. The style is very unmistakably him, complete with some clever transitions. Also nearly forgot to mention that 'Late Autumn' is quite interesting structurally, structured as blocks of linked scenes. The music matches the gentle and sometimes sly mood of the film.

Overall, very good. 8/10

Setsuko Hara's husband is dead and his old college friends gather, as they often do anyway. The widow's daughter, Yôko Tsukasa, is 24, which means it's time she married. So they pick out a candidate, Keiji Sada. Only she's not interested, because she feels her mother needs her.

Well, we've seen this before in Ozu movies. In LATE SPRING, it was Miss Hara's turn to be a stubborn daughter worried about a widowed parent. Now, eleven years later, she's the widowed parent with a stubborn daughter. However, this one is pretty much as straight a comedy as Ozu turned out after the War, so just as it begins with a funeral, we can be certain it will end with a wedding. There are remarks made that are clearly asides to the audience, like every waitress and bartender apologizing for the delay in service, and the three friends who realize they need to get Miss Hara remarried and choose one of their number as the groom. Matters grow more confused, people are told about things that haven't been done, and it's the turn of Mariko Okada, as Miss Tsukasa's friend to whom she's not talking, to drag everyone together and get some straight answers out of them... and to lug the drunken men to her father's sushi joint, because he can use the business.

It's warm and funny and familiar to anyone who's seen Ozu's movies. It makes me wish I had friends and family like that.