Nobuo Nakamura, Ryuji Kita, and Shin Saburi play a trio of matchmaking yentas in Ozu’s LATE AUTUMN

LATE AUTUMN (AKIBIYORI) (Yasujirō Ozu, 1960)
Japan Society
333 East 47th St. at First Ave.
Thursday, December 12, $12, 7:00
Series runs monthly through February
212-715-1258
www.japansociety.org

Yasujirō Ozu revisits one of his greatest triumphs, 1949’s Late Spring, in the 1960 drama Late Autumn, the Japanese auteur’s fourth color film and his third-to-last work. Whereas the black-and-white Late Spring is about a widowed father (Chishu Ryu) and his unmarried adult daughter (Setsuko Hara) contemplating their futures, Late Autumn deals with young widow Akiko Miwa (Hara again) and her daughter, Ayako (Yoku Tsukasa). At a ceremony honoring the seventh anniversary of Mr. Miwa’s death, several of his old friends gather together and are soon plotting to marry off both the younger Akiko, whom they all had crushes on, and twenty-four-year-old Ayako. The three businessmen — Soichi Mamiya (Shin Saburi), Shuzo Taguchi (Nobuo Nakamura), and Seiichiro Hirayama (Ryuji Kita) — serve as a kind of comedic Greek chorus, matchmaking and arguing like a trio of yentas, while Akiko and Ayako maintain creepy smiles as the men lay out their misguided, unwelcome plans. Mamiya makes numerous attempts to fix Ayako up with one of his employees, Shotaru Goto (Keiji Sada), but Ayako wants none of it, preferring the freedom and independence displayed by her best friend, Yoko (Yuriko Tashiro), who represents the new generation in Japan. At the same time, their matchmaking for Akiko borders on the slapstick. Based on a story by Ton Satomi, Late Autumn, written by Ozu with longtime collaborator Kôgo Noda, is a relatively lighthearted film from the master, with sly jokes and playful references while examining a Japan that is in the midst of significant societal change in the postwar era. Kojun Saitô’s Hollywood-esque score is often bombastically melodramatic, but Yuuharu Atsuta’s cinematography keeps things well grounded with Ozu’s trademark low-angle, unmoving shots amid carefully designed interior sets.

Japan Society series honors Donald Richie (l.) with screening of film by Yasujiro Ozu (c.)

Late Autumn is downright fun to watch, and you can see it on December 12 — Ozu’s 110th birthday, as well as the 50th anniversary of his death — at 7:00 at Japan Society, introduced by director, writer, and producer Atsushi Funahashi, as part of the monthly tribute series “Richie’s Fantastic Five: Kurosawa, Mizoguchi, Ozu, Yanagimachi & Kore-eda,” which honors Ohio-born writer, critic, scholar, curator, and filmmaker Donald Richie, who died in February at the age of eighty-eight. Richie was a tireless champion of Japanese culture and, particularly, cinema, and the series features six works by five of his favorite directors. Here’s what Richie said about Late Autumn: “A daughter is reluctant to leave her widowed mother, even though it is time for her to marry. The story could be seen as a ‘remake’ of Late Spring — and though more autumnal, it is just as moving.” The Late Autumn screening will also be followed by a special Ozu birthday reception. The series continues in January with Mitsuo Yanagimachi’s Himatsuri and concludes in February with Hirokazu Kore-eda’s After Life, appropriately on the one-year anniversary of Richie’s passing.