But as soon as one focuses on the relations between these two motifs-including the realization that the farting game is the boys’ way of saying “Good morning” to each other, and the fact that a housewife hears her husband’s farts in another room as if he were summoning her-the possibilities of comic and formal play, at once satirical and musical, become endless. And what could be more musical than the opening gag, occurring on the same sunny hilltop, of little boys farting for their own amusement, still another form of theme and variations?Īll of which prompts me to disagree respectfully with the late Yasujiro Ozu specialist Donald Richie when he maintained, “ Good Morning, in some ways Ozu’s most schematic film, certainly one of his least complicated formally, is an example of a film constructed around motifs.” Certainly the motifs are there, and they are vital the two examined by Richie as sterling examples are the farting and the greeting embodied in the film’s title, and Ozu runs numerous variations on both.
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Here you will find options to view and activate subscriptions, manage institutional settings and access options, access usage statistics, and more.From its very opening, Good Morning (1959) is deeply and delightfully musical, both in the orchestration of static visual elements in its first two shots (the juxtaposition of adjacent houses with fences and clotheslines, and all these horizontals with the verticality of electrical towers) and in its rhythmic patterns of human movement, which are no less orchestrated, as various figures cross the pathways between houses, between houses and hill, and on top of the hill itself-always, mysteriously, moving from right to left.
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