Early Summer (Bakushû) is the middle entry in what has been called director Yasujiro Ozu's Noriko Trilogy (bookended by Late Spring and Tokyo Story). All three films feature women named Noriko (all played by Setsuko Hara), who are without husbands, and embroiled in family dramas. The names of many of the other major characters recur in the trilogy, as well, which gives the films a feeling of almost being alternate world versions of each other- ala the way comic books have `canonical' superhero tales, and those set in alternate universes. Released in 1951, the 124 minute black and white film was written by Ozu and his co-writer Kôgo Noda, and is every bit as great a film as its two more celebrated companion pieces. The film featured many of Ozu's actors from the two other films, and in many ways is a variation on the narrative of Late Spring, which revolves around the family plotting to marry off the `old maid' Noriko. Naturally, a suspension of disbelief is needed to believe that a character played by Hara- Japan's mid-Twentieth Century answer to Julia Roberts, aka `the girl next door,' would have any trouble finding male companionship. And all of the trilogy films are predicated on the changing role of the Japanese family in the postwar world, where the ideas of giri (duty) and ninjo (emotion) come into conflict.
The basics of the narrative follow the tri-generational Mamiya family, who all share a suburban Tokyo home. The oldest generation is wary of change, but accepts it. The middle generation takes it or leaves it, and the youngest generation are just self-centered brats. There are the mother and father, Shukichi and Shige (played by Ichirô Sugai and Chieko Higashiyama); their doctor son Koichi (Chishu Ryu), his wife Fumiko (Kuniko Miyake) and their two bratty sons, the older Minoru (Zen Murase)- about eight or nine, and the younger Isamu (Isao Shirosawa)- about four or five; and the parents' daughter, Noriko. Another son, never seen in the film, Shoji, died in World War Two, and the parents still lament and feel his absence. A missing member of the family is another Ozu standby. All of the family members share the expense of the household, and Noriko, who is twenty-eight, feels in no great hurry to marry. Yet, the bulk of the film is not devoted to this pursuit, but rather the exposition of individual character through small scenes that do not relate directly to the plot. Ozu often eschewed plot driven tales' heavyhandedness in favor of an anecdotal style that allowed things to emerge as a tale more organically, or naturally, without the contrivances that often occur in film....Ozu's films rise or fall on their little moments, when people do little things. There are scenes where the grandfather cuts Isamu's toenails, or when he tries to bribe Isamu into saying he loves him. He does it four times, but when grandpa stops bribing him Isamu gets snotty and says he hates the old man. Then the two brothers show their disappointment when Koichi comes home with a package they assume are toy train tracks. When they find out it's bread, call their father a liar, and kick the bread till the package breaks, Koichi spanks Minoru, and scolds him for abusing food- a no-no in a nation where food was still scarce after the war. Then there's a scene when the adults eat cake, and hide it from the boys, lest have to share it with them. These are the prosaic moments which aid in contrasting the greater moments. The very fact that so few other filmmakers include such `down' dramatic times, which are nevertheless fascinating, goes a long way in explaining the empyreal heights Ozu reaches in his films.
Early Summer is an unjustly neglected classic, and a great film, every bit the equal of its two more celebrated cousins in the Noriko Trilogy, which takes its place alongside Ingmar Bergman's Spider Trilogy, Michelangelo Antonioni's L'Alienation Trilogy, and Krzysztof Kieslowski's Three Colors Trilogy as one of the great accomplishments of cinema. In fact, it is probably the best of the trilogies mentioned, for it is the only one where all three films that comprise it are unequivocally great films. While it's great to be in good company, to rise above that company is even better. Ozu does, no matter where or when you watch his films.

In my opinion, Early Summer is Ozu's most beautiful film. The heroine, Setsuko Hara has never been so radiant in her beauty and goodness. Her unselfishness and personal conviction triumph over intense familial and cultural pressures. In standing up for herself, she awakens within her family a greater understanding and acceptance of the realities of love and life. Her conversation with her sister about her decision on the beach is perhaps my favorite scene in all cinema.

Rarely is a film so real, so sad, yet with an ending of profound peace and acceptance. If you love Ozu, this will be one to come back to over and over.

Simple yet poignant, this beautifully photographed story of Japanese family life and the changing role of women in postwar society contrasts the values of elders and the impulses of youth, an abiding theme in Ozu's deeply humanistic oeuvre. Longtime muse Hara is exquisite in the role of Noriko, the put-upon daughter who incautiously agrees to marry a friend of her brother over an unfeeling suitor 12 years her senior. A delicate exploration of tradition and cultural change, "Early Summer" is a masterpiece of compassionate storytelling.

I interpret this film as portraying the Buddhist insight of impermanence.
All things change and clinging to anything brings inevitable grief. This lesson is played out in the evolution of a family from a cohesive three generation family all living in one household to the scattering of the family as the younger generation moves away to establish their own households, leaving the parents alone. There is a minor repetition of this theme with the portrayal of of an elderly uncle in declining health with failing hearing and mental acuity.

An absolute masterpiece. This is another take on the issue of 'Late Spring'(of which I wrote another review): How family changes along with the times.

It's NOT about the rights of women to decide whom to marry, or anything of that sort. Visually, I prefer 'Late Spring', but 'Early Summer' has a lot more issues and more depth in its narative. It really would take a whole book to tell all that this film points to, if it were at all possible. How can you you describe colors to someone who's born blind? That's why some people will say this is about women's rights. (The same kind of people who'd say that Jesus was a great philosopher -but not God- when, evidently, he was either God incarnate or a mad man).

"And Jesus said: 'For judgement I have come into this world, that those who do not see may see, and that those who see may be blind'. Then some of the Pharisees who were with Him heard these words, and said to Him, 'Are we blind also?' Jesus said to them, 'If you were blind, you would have no sin; but now you say, 'We see'. Therefore your sin remains." (John 9:39-41)

For this reason I give up any hope of contributing to this film's understanding. Nothing better than the film itself. Simply stated: If you don't get to love this story, these characters, you have a spiritual malfunction.

The female protagonist, Setsuko Hara, is just lovable and wonderful. I can't imagine her doing any other role but those she does in Ozu's films. She is that natural. There are 3 generations in this family here; the newest one we are spoiling it. Too much love and no discipline is no good. Watch the symbolic scene where the grandpa gives candy to the little one. See the results. Watch how grandpa reacts. He laughs. Yes, we are bringing our own destruction, day by day, and yet we laugh. Is it our fate, or can we do something about it?