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Good Morning

By the time he made Good Morning in 1959, Yasujiro Ozu had completely eliminated camera movement from his uniquely simple but elegant directorial style. He chose instead to emphasize static but meticulously purposeful compositions that rarely, if ever, wavered from their recognizable low-angle perspective. In Good Morning, this observational approach is put to sublime use to establish setting (a late-'50s Tokyo suburb) and to view the world through the eyes of the film's central characters, two young brothers. This film describes the heroic battle that two little boys fight against their father who refused to buy them a television set. Their father claims that television will create "a million idiots," while their mother is angered by th

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