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- Introduction： One is that works in English on Mizoguchi (1898-1956) are less available than, say, similar volumes on Akira Kurosawa or Yasujiro Ozu. 简单的说，这部电影深刻而写实，值得一看。
- One is that works in English on Mizoguchi (1898-1956) are less available than, say, similar volumes on Akira Kurosawa or Yasujiro Ozu. 影片讲述的是日本战败之年，民众的凄惨生活场景。
- The dinner scene with Billy's parents pays hommage to the static visual style of Japanese director Yasujiro Ozu, who is referred to by the OZU on the license plate of Layla's car. 大意是:那场比利带着蕾拉与父母吃饭的戏是向小津安二郎致敬的.;还反映在蕾拉的车牌子上
- Depending on these honor, Takeshi Kitano becomes one which of the best directors after Heizeming, Nagisa Oshima, Kenji Mizoguchi, Yasujiro Ozu, Shouhei Imamura in the Japanese movie history. 凭借这些荣誉，北野武成为日本电影史上继黑泽明、大岛渚、沟口健二、小津安二郎、今村昌平之后的最受欢迎的导演之一。
- Yasujiro Ozun. 小津安二郎
- Ozu focuses on the theme of erosion of the family. 故事讲述小人物喜八离开了东京，变得居无定所。
- In the rein of Ozu Yasujiro and Kinoshita Keisuke, two of his precursors at the Shochiku Studio, Yamada Yoji has been particularly keen on portraying the lives of Japanese families. 与小津安二郎、木下惠介同属松竹片厂的山田，跟两位前辈大师一样，对日本家庭的描写最感兴趣。
- Ozu revisits his themes on postwar Japan with a storyline similar to Ozu's own Woman of Tolyo. 本片延续小津二郎战后的感怀，情节煽情激烈，更具批判性。
- Yet Oshima's film can also be interpreted as a reinterpretation of and a riposte to Ozu. 然而大岛渚的影片也可以被解读为是对小津的重新诠释和回击。
- Ozu's central themes of family, sadness and transience are revisited again in this buried treasure of minimalist melodrama. 本片是小津战后仅有以严寒冬季为背景的电影，开首几个简单的暮色镜头，确立了本片灰暗的主题及调子。
- Ozu returns to the downtown milieu of his Kihachi films for this Occupation-set tribute to loving motherhood and the communal spirit. 本片是小津安二郎战后所拍摄的第一部作品，延续着喜八系列对于贫民百姓细致的生活描写。
- Ozu is an auteur in the traditional sense: one whose style and themes are reiterated with sublime consistency in film after film. 在传统意义上，小津是一位个人风格独特的导演：其风格和主题在一部又一部的影片中，以一种高度的一致性反复重现。
- Ozu and his scriptwriter, Kogo Noda, often centered their plots upon getting a daughter married, a situation around which an array of characters' lives could be revealed. 小津和他的编剧搭档野田高梧，经常将他们的故事中心围绕着女儿的即将出嫁展开一连串相关人物的境遇变化。
- This story is depicted with a comedic touch, as Ozu and the students go through some violent, yet funny times on the way to his learning some valuable lessons from them. 故事的节奏一如田村正和给人的感觉：沉缓，但绝非沉闷，他与裕介的对手戏就非常的轻松幽默，这也是编剧君冢良一厉害的地方，笑中有泪，泪中带笑的感动只有亲自一看才能体会呢。
- This screen persona became hers and, in any event, Ozu would not have created his character this way had it not been Setsuko Hara for whom he was writing. 屏幕上的形象已经为她所有，而且在任何情况下，如果不是在为原节子编写剧本的话，小津绝不会按此种方式创作其角色。
- The playful and happy mood and the symmetrical structure of the film are Ozu's way of paying tribute to the classical Hollywood comedy, especially the best of Lubitsch. 两位好友一同面对挫败，令他们的人生态度有所改变，末段在火车上一幕，尽显日后大师级风范。
- Like "Walk Cheerfully", Ozu's earlier gangster film, a one-time champion boxer turned small-time ringleader finds himself moodily torn between the affections of a vamp and an innocent maiden. 片中人物感情比前作更复杂悲情，画面安排尽见心思。
- it carries to a limit Ozu's faith that everyday life, rendered tellingly, provides more than enough drama to engage us deeply. 但它承载着一个小津电影的基本因素：将日常生活缓缓地铺叙呈现，进而带给我们更多剧情不能催生的体验。
- Yasujiro 安二郎
- Ozu 小豆
