Sanma no aji 1962

New York Times: Such a completely realized example of the Ozu art that it seems impossible he did not intend it to be a kind of testament. Read more

Dave Kehr, Chicago Reader: Stylistically it's one of Ozu's purest, most elemental works: no camera movement, very little movement within the frames, and hardly any apparent narrative progression. Read more

Richard Brody, New Yorker: The fatal bargain of old age has rarely been observed as sharply as in Yasujiro Ozu's last film, from 1962. Read more

Geoff Andrew, Time Out: Only this film and Good Morning were made in colour, but Ozu applies it here with great care and precision, another mark of his sublime philosophical and cinematic continuity. Read more

Variety Staff, Variety: This view of contemporary middle class life in Japan is too leisurely paced, too sentimental in design and its humorous social comments too infrequent. Read more