Noriko and Neglect by Sylas Davidson
Noriko is highlighted throughout the film and by its viewers for her kindness, her compassion. She is the only person to take a genuine interest in Tomi and Shūkichi, seemingly outside of obligation and without patronization. However, she also seems to rely on tradition to guide her behaviour, taking guidelines as strict rules, to the point of possibly sacrificing her personal happiness. This is most obvious with her continued devotion to her husband, Shōji, and his photo. It’s a little hard to see, but Shōji’s photo appears to be on the top of a simple cabinet or wardrobe with a candle to one side. There doesn’t seem to be anything else, at least not anything easily identifiable, that would make this a family altar. This appears to be a shrine to Shōji, instead of an altar for worship. Noriko might not be particularly religious, but she still appears to havecreated an altar, and instead of it being a place for ...
I loved the way this built up tension. I think you keyed well into how I think Ozu creates action. In my opinion, the lack of camera movement give everything a sort of nature-style documentary feel-as if one is peering into a dollhouse and watching the action unfold voyeuristically. it seems sort of philosophical-reminding us of how the life that is unfolding before our eyes is intense and dramatic, if only we pay attention to it. What is the actor feeling? It seems he has forgotten his lines. Is this a rehearsal, or is he about to go on stage? How big is the audience? The uncertainty of it makes it pretty riveting. Good job
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