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Good Morning (1959)


A lighthearted take on director Yasujiro Ozu’s perennial theme of the challenges of inter­generational relationships, Good Morning tells the story of two young boys who stop speaking in protest after their parents refuse to buy a television set. Ozu weaves a wealth of subtle gags through a family portrait as rich as those of his dramatic films, mocking the foibles of the adult world through the eyes of his child protagonists. Shot in stunning color and set in a suburb of Tokyo where housewives gossip about the neighbors’ new washing machine and unemployed husbands look for work as door-to-door salesmen, this charming comedy refashions Ozu’s own silent classic I Was Born, But . . . to gently satirize consumerism in postwar Japan.

Good Morning (1959) offers a brilliant blend of wit and timing, where every scene brims with laughter and levity. The humor ranges from clever dialogue to situational absurdity, making it a crowd-pleaser for those seeking a lighthearted escape.

Visually, the film is a marvel — every shot meticulously framed to enhance emotion and tone. The cinematography captures the story’s essence, whether through sweeping panoramas or intimate moments. Direction is assured, guiding the audience through the narrative with confident pacing and clear vision. Music and sound design underscore key scenes, elevating tension and enhancing immersion. Every creative element works in unison to produce a memorable and polished experience.

Good Morning (1959) provides more than just entertainment — it delivers resonance. Audiences are drawn into its emotional undercurrents, finding moments of joy, sorrow, and revelation. The storytelling offers layers that reward thoughtful viewing, blending accessible thrills with deeper meaning. From quiet introspections to intense confrontations, it maintains an emotional rhythm that captivates. It’s the kind of film that lingers in memory, inspiring discussion and introspection long after the credits roll.

In the end, Good Morning (1959) stands as a shining example of cinematic craft — a harmonious blend of narrative, performance, and technical achievement. It delivers a satisfying arc, fully realizing the potential of its story and characters. Whether you're a loyal follower of Comedy, Family, Drama or a curious newcomer, this film offers something truly special. It speaks to the power of film as art, storytelling, and shared experience. Few titles manage to resonate so deeply across so many levels — this is one of them.

If you're interested in more great comedy films, you might also enjoy: The Grand Budapest Hotel, Superbad, Jojo Rabbit, The Hangover, Bridesmaids.

Good Morning (1959)
7.7/10 from 301 users
Title Good Morning (1959)
Genre Comedy, Family, Drama
Release 1959-05-12
Runtime 94 min.
Cast Keiji Sada, Yoshiko Kuga, Chishū Ryū, Kuniko Miyake, Haruko Sugimura, Kōji Shitara, Masahiko Shimazu, Kyōko Izumi, Taiji Tonoyama, Toyo Takahashi, Sadako Sawamura, Eijirō Tōno, Teruko Nagaoka, Eiko Miyoshi, Haruo Tanaka, Akira Ōizumi, Fujio Suga, Akio Satake, Keijirō Morozumi, Mutsuko Sakura, Norikazu Takeda, Yôko Chimura, Hajime Shirata, Masuo Fujiki, Toshio Shimamura, Tsûsai Sugawara, Koji Shidara, Yôko Chimura, Ayako Senno, Yuriko Tashiro, Yoshie Minami, Tomoka Hasebe, Koji Shirotani, Yukari Yamashina, Kazuko Mitsukawa, Kôhei Kawamura, Junko Hara, Shôsuke Oni, Aiko Ikumi
Synopsis A lighthearted take on director Yasujiro Ozu’s perennial theme of the challenges of inter­generational relationships, Good Morning tells the story of two young boys who stop speaking in protest after their parents refuse to buy a television set. Ozu weaves a wealth of subtle gags through a family portrait as rich as those of his dramatic films, mocking the foibles of the adult world through the eyes of his child protagonists. Shot in stunning color and set in a suburb of Tokyo where housewives gossip about the neighbors’ new washing machine and unemployed husbands look for work as door-to-door salesmen, this charming comedy refashions Ozu’s own silent classic I Was Born, But . . . to gently satirize consumerism in postwar Japan.
Subtitles
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