Yasujiro Ozu’s trilogy, comprising of Late Spring (1949), Early Summer (1951), and Tokyo Story (1953), is regarded by many as his magnum opus and some of the greatest works in cinema.

By Josh Morente

Informal trilogies are movies that are complete, in and of itself, or when seen together (in sequential order or not). Here, we talk about Yasujiro Ozu’s Noriko Trilogy, which is regarded by many as his magnum opus and some of the greatest works in cinema. It comprises of Late Spring (1949), Early Summer (1951), and Tokyo Story (1953).

As with most informal trilogies, the themes and the cast interchange roles throughout—playing the father here and the brother in the next one. The only exception is Noriko, the titular character played by Setsuko Hara.

Although all three movies have a character named Noriko, they are all distinct, each with their own nuances, unconnected, and only draw a connection by being shown as a young single woman all throughout.

Late Spring (1949) is one with views and values that might not really fit in modern times anymore. The movie is straightforward, but is quite sad if seen through the eyes of a loving parent.

Early Summer (1951) will make you wonder how something so mundane and day-to-day as pouring soda in a glass could be so bewitching to watch. It speaks to the viewer in a more visceral way rather than in a technical manner, and subjectively speaking, it is my personal favorite out of all the three. It shows the more headstrong and outgoing version of Noriko, and a family that feels more tied together than in the other two.

Early Summer (1951) will make you wonder how something so mundane and day-to-day as pouring soda in a glass could be so bewitching to watch.

Tokyo Story (1953), Ozu’s most revered and celebrated film, is more about coming and going. Much like the seasons changing, the leaves falling, the cold breeze, and the familiar warmth of family, the movie is an all-too-real portrayal of the relationship between children and their parents after they have grown up. 

With movies and themes so reminiscent of Ozu’s works, it’s pretty obvious how it influenced both Hirokazu Kore-eda and anime auteur Mamoru Hosoda. Satoshi Kon’s Millennium Actress (2001), on the other hand, is partly inspired by the actress who starred in Late Spring and Tokyo Story Setsuko Hara—her reclusive life after retiring in the early ’60s, a charming career spanning almost three decades, and stories of her and Ozu having a deep appreciation for each other, to the point of calling it “love,” if you may.

Scattered with pillow shots and people in cardigans here and there, Ozu’s Noriko Trilogy includes some of the few movies I might have liked more than I should have. They are subdued yet earnest, quaint yet lovely, and one that must be watched at least once in your life, if not once every year.