Composition Supremeism (4)-Moving props

  • 2020.03.07 Saturday
  • 19:57



Composition Supremeism (4)-Moving props


Moving props



Moving still life


 In "Equinox Flower", the table on the last supper on the day before Setsuko (Ineko Arima) is married, looks like a still life (1:30:17). I'll look carefully because something seems to be hidden. In the room in front of the family, there is a dining table with a hot water bowl on the right side, but immediately after that, it becomes invisible because of the approach. Instead, the ohitsu appears on the tatami mats, and the other props, which had been placed from the beginning, are also moving to the right to make up the space(Figure 1 1:30:26).


動く小道具 1
 Figure 1














 The handle of the red medicine can and the empty bottle of juice on the right hang on the red strip on the tablecloth. The wine bottle in between just reaches the table. The left and right juice bottles on the table are closer to the center than the medicine can and wine bottle, and the left one is connected to the tablecloth pattern and extends near the medicine can. And these are the two pillars that penetrate the dining table.


 In this shot, the wines of Kiyoko (Kinuyo Tanaka) and Hisako (Miyuki Kuwano) are poured at almost the same height as the nearby tableware, and the juice of Hisako is aligned with the height of the right cup. At first, Kiyoko's wine glass was in the back. The amount was small, and it was the same height as the platter with the fruit next to it. Her cup and the white bowl at the back right are also moving to the left.


 In a later frontal shot of the mother (1:32:12), the height of the left and right wines and juices is aligned with the edge of the nearby dish. David Bodwell calls this a joke that the director wants to make the audience aware ((24) p.550). However, this is just as Ozu's aesthetic, as in any other case. He doesn't want the audience to notice the gimmicks, he wants them to feel it. There the height of the drink is connected not only to the rim of the plate, but also to the hands of the mother who peels the grape. And they have a gentle downward slope.


 Going back and looking at her younger daughter, Hisako. Hisako's wine glass from directly beside the table is too far from her because it is located in the center (Figure 1). However, at the time of Hisako's close-up, it is at hand (1:30:48). Even if she did, the glass would later move to the center of the table again (1:30:54). And once she put it back (1:31:55), the amount of wine being poured into the glass increased after her sister left the room (Figure 2, 1:32:42). This shows that it is the same height as the can on the left.


動く小道具 2
 Figure 2














 However, the story has continued until here, so I don't know when she put the wine. And when you can see the wine bottle, it is always closed with a cork stopper. So she had to plug it in and out. After that, by the time their father (Shin Saburi) came home and went into the room, Hisako had eaten bread and drank wine at once (1:33:32), and poured instantly when he passed through it. (1:33:39).


 Hisako reaches out to pinch something (1:30:20), but the next time she appears, there is a walnut can (WALNUTS label) in front of her (Figure 1). Hisako would have moved a can, hidden behind her sister, behind the glass containing the juice. However, it seems to be difficult to put there because it is close to the mother Kiyoko, ahead of the cup in front of Hisako.


 At this time, the label on the can is directed toward Hisako, and when Setsuko says, "Okay, mother. I'm good enough," she's returning it to her (1:31:24). The label is almost in front. However, the can quickly moved to Hisako's side, and the label turned toward it (1:31:33). Setsuko was urged by her mother to return to her room, and when she answered "Yes, then," she again took the can again, and the label turned to the left (1:32:27). Shortly afterwards, when Setsuko stands up, the can moves to Hisako and the label is also facing her (1:32:31). Here too she got it back quickly?


 When Setsuko disappears, the label rotates further and turns to the right. By the time they came to this shot, the juice jars, like the cans of the peaches, were competing with each other without drinking. And Hisako often robs the glass containing my sister's juice. When Setsuko is gone, the label will rotate further to the right (Fig. 2). By the time of this shot, the two were competing for the juice bottle, even though they weren't drinking, just as they were with the walnut can. Hisako often takes his sister's glass of juice.



Other props


 You can find any number of decorative lies that emphasize such composition in Ozu movies. From a simpler and easier to understand place. At the ryokan in Sasaki, the label on the beer bottle placed by Sachiko (Fujiko Yamamoto) faces the camera (1:47:54), but it also faces the camera when reflected from the other side (1:48:19) .


 Back long ago, when my mother Kiyoko invited Chieko Naniwa at home, a teapot was placed almost in the center of the dining table. From where Kiyoko sits, the teacup is farther away than the teapot (33:17). Next, when Kiyoko is seen from the front, the two line up in front of her left (33:24). From Kiyoko's point of view, the teacup is still in front of the teapot, so it looks like the correct position. However, the shadow of the distant tea cup is reflected on Kiyoko's sleeve, so the tea cup is quite close to her.


 Hideko Takamine, who was passionate about the violence of his brother-in-law (Sou Yamamura) against his sister (Kinuyo Tanaka) at "The Munekata Sisters", threw his pickle away from the cushion. It is hidden behind the fusuma and is invisible, but when the shot is taken from the other side instead, it is on the cushion. The T ruler, which she had knocked down earlier, is rolling nearby. And you can see that the cushion further moves to the back of the sliding door (1:25:58).


 In the evening tea room where Noriko (Setsuko Hara) bought a cake and returned home, the left sliding door that Chisyu Ryu opened to sneak into the back room moved right in the next shot, and conversely the right sliding door Moves to the left and the opening narrows. On the table, the boxes of cakes, which should have been there, are gone, leaving only cups (45:25, 46:08).


 On the second floor of the day when Aya Tamura (Chikage Awashima) is invited, the direction and shape of the flowers in the vase on the dining table change seven times. The next is a close-up of Noriko, so it is difficult to understand, but the flower on the right end leans on her and the leaves are hidden (Fig. 4 54:31). Please refer to "Ozu Grammar (1)-Conversation" below for how to photograph Ozu's person in conversation.


動く小道具 3 動く小道具 4
 Figure 3  Figure 4














 Here, after returning to the previous state (54:37), the flower remains tilted from the other side of the room, but the bunch is packed and another flower is added (54:58). Once again, the flower comes to the center from the back of the room (55:25), and finally when seen from the other side, the flower tilts to the right, where there is another flower again (55:50).


"Early Spring" At the Okonomiyaki restaurant with Syoji Sugiyama (Ryo Ikebe) and Chiyo (Keiko Kishi), the label on the beer bottle is facing right when both are closed up alone. But when they are in the picture, it turns towards Sugiyama, and the bottle approaches him, and his hand seems to be tight (42:12).


 In the apartment of Sakae Tominaga, a friend of his wife Masako, Sakae's cup has no foam immediately after she has finished pouring beer (1:55:29). This is different from the case of Hisako's wine, which I saw earlier in Equinox Flower. It will be a charming place.


 However, the props placed on the table after that are quiet. The label on the beer bottle when Sakae has finished pouring it is clearly reflected, but when the camera turns to the other side, the bottle is not moving, so it is almost invisible and the bottle looks dirty (1:55: 47). On subsequent shots, the camera moves back slightly and the label disappears completely (1:56:59). However, it seems that not only the orientation of the camera but also the bottle is slightly rotated.


 Here, the emphasis is on the whitish sleepwear in the center of the screen, so you may have considered balance. Is it easy for the audience to notice that if you change the direction of the label each time? Either way, close-up beer bottles with no label in Ozu movies are rare.


 However, even if it is quiet, there are three kinds of label directions when Sakae pours beer. In other words, it changes direction twice during that time. In addition, the cup gradually approaches her. First, when she plucks the bottle, the bottle is at the back of the cup. Perhaps because there is no need to do so, the label is not visible because it faces the entrance (1:55:14). When pouring, the label is turned towards Sakae and the cup is slightly closer to her (1:55:17). When you release the bottle, the label will face the back of the room, the cup will come to the edge of the table, and after that the bottle and the cup will not move.


"Late Autumn" At a restaurant after the funeral, when a shot from the corridor where Taguchi (Nobuo Nakamura) sits on the right front, two bottles of drinking water on the tray at the lower right of the table and lemon are put. Although the position of the glassware changes three times, this is a very detailed production.


 Initially, the two bottles are on the left and the lemons are evenly distributed on the right side of the bottle (09:25). After Akiko Miwa (Setsuko Hara) and her daughter Ayako (Yoko Tukasa) are gone, two bottles move to the center of the tray and lemon moves to the front of the right bottle (13:55). After the landlady (Toyo Takahashi) came in, the lemon moved a little further to the left and protruded from the side of the bottle (15:49), and after she left it returned to the center of the bottle (17:01). These do not seem to affect the composition (nobody cares), but they don't seem to make up for the monotony that was in "The Great Scenes of Tokyo Story." It's like a puzzle looking for mistakes.


 There are three types of shots that show the beer bottle at the meal of Shin Saburi and Akiko at the eel restaurant, but regardless of the direction in which the beer is reflected, the labels are all facing the left to follow the camera (25:01, 25:16, 26:38). This can be confirmed by the fact that the position of the label on the bottle held by Mamiya changes.


 In the first shot, it is held deeper than the center of the red star on the label (Fig. 5 25:07). However, his fingertip when the camera approaches and puts the bottle is in the middle of the star (Fig. 6 25:13), which indicates that the bottle is rotating toward the front. In addition, here, four small items, such as beer bottle containers and pepper, come closer to each other and overlap with the next one. Mamiya puts the bottle closer to him, so if the orientation was not changed, the label would have been gripped deeply, but on the other hand, it would be shallower, so the label would have turned further toward the front.


動く小道具 5 動く小道具 6
 Figure 5  Figure 6














 In the next Mamiya shot, there is a gap between the beer bottle only to the left and the sansho (25:25). Not only on the Mamiya side, but also at Akiko's first up, the cup after pouring her beer moves to the right (25:22).


 In "The End of Summer", the Kitagawa (Kato Daisuke) cup with beer is full of bubbles (50:06). After switching back to another place, the bubble disappears when it is taken again, which is also charming. But at the end of the scene, looking from the other side, the beer bottle label still faces the camera (52:22).


Written notice.

I translated from Japanese original in machine translation software on the Internet. I translated it into Japanese with the same software and confirmed it, but I think there are still imprecise and unclear places. 


The original text is below.



(The text ends here)


  • 2020.07.22 Wednesday
  • 19:57
  • 0
    • -
    • -
    • -