Owen’s Oldies: ‘Equinox Flower’
- Owen Glancy
- Apr 4
- 3 min read
By Owen Glancy Arts & Features Editor There’s a strange assumption surrounding the work of Japanese filmmaker Yasujiro Ozu, one that often causes many people who would otherwise love his films to pass up on them. Many assume that Ozu’s films are boring because they are nearly all family dramas. Obviously, this could not be further from the truth. Ozu’s films use the mundane setting of everyday Japanese life to tell poignant, relatable stories that often put spotlights on and criticize typical family dynamics. Of all of Ozu’s films, most would expect me to cover something more popular such as “Late Spring” or “Tokyo Story,” but even though those films are amazing, I’ve found myself enamored by the first Ozu film I ever watched - his first ever color film released in 1958, “Equinox Flower.” The film follows Wataru Hirayama, a father who likes to think that his views on marriage are very liberal and ahead of the times, a thought that is challenged when one of his daughters confesses that she plans to marry a musician. “Equinox Flower’s” simple, yet engaging plot is one of the big reasons why this film works so well despite being over 65 years old. Wataru genuinely wants to give his daughters the best lives he possibly can, and in a way that does not encroach on their own freedoms and desires. However, he cannot help but be stuck in many of his old ways, some of which are restrictive to the freedom of his daughters. This hypocrisy that Wataru displays throughout the entire film is something that deeply connects to many of the people watching. Despite how odd it sounds that this man is so seemingly conflicted, his inner turmoil makes sense because of just how human it is. No matter how “with the times” or “liberal” someone is, most people find that they have at least one belief considered “outdated” that they just can’t let go of. That all being said, the film’s central conflict would not work if the actor playing Wataru didn’t bring his A-game. Thankfully, Shin Saburi brings far more than his A-game here and brings both Wataru and the film to life. As an Ozu veteran, it’s clear that the two have a deep understanding of Saburi’s acting strengths and how to best direct him to bring those out in every scene. Nearly all of the women in this film are excellent as well, with Kinuyo Tanaka in particular giving a phenomenal performance as Kiyoko Hirayama, Wataru’s daughter who acts as the other main character of the film. Her performance, similarly to Saburi’s, is so real and genuine in a way that can only be seen in an Ozu film. Her quick-witted nature makes it harder and harder for Wataru to continue denying her what she wants the longer the film goes on. Despite their differences, you absolutely can tell that these two are related - Wataru and Kinuyo are similarly stubborn. Like I mentioned earlier, this was Ozu’s first color film, and it does not feel like it was. The colors are so vibrant, but not so overwhelming that it distracts from the simplicity the film thrives on. Instead, the vibrant colors serve to create a version of the real world in which the little problems plaguing average everyday families are the most important and dramatic parts of society. With his cinematography and his colors, Ozu creates a world that still has problems, but one that still feels idealized and “homey.” “Equinox Flower” is a film that, while not as big in scope or in plot as many of its contemporaries, has the emotional weight and complexity to allow it to stand out amongst giants.