Canto CLXIV

The impression I get from Ozu’s films
is that all this emotion and duress,
our brief existences can never fill

the rectangles that silently frame us,
the mathematical constants persist
despite the to and fro of the actors,

a momentary blur, that’s all this is,
you’ll have to leave this building in the end,  
return this very room to emptiness,

a stillness that you’ll never comprehend.

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2 Comments (+add yours?)

  1. peter litton
    Feb 14, 2012 @ 10:07:33

    I’ve never seen an Yasujirō Ozu film, I’m off to research his work.
    I like the idea of our lives being framed by a rectangle.

    Reply

    • Niall O'Sullivan
      Feb 14, 2012 @ 11:11:39

      I’ve only seen Tokyo Story, which is slow, sad and immensely beautiful. All of the shots in the film are low angle static shots. The squares and rectangles of the 1950s Japanese houses look like Mondrian paintings. The film is classical rather than romantic in the way it is shot as the camerawork focuses on the interiors that the characters pass through and act out their dramas within. It evokes a sense of the transience of all our affairs.

      Reply

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