I Was Born, But... (1932)

Yasujiro Ozu's silent classic features many of the characteristics that would become common in his later works: the focus on the subtleties of familial relationships, the quiet but deeply probing approach to life, and the measured but rhythmic pace to storytelling. The first half of the film plays almost like a superior, extended Our Gang short. The focus is on comedy as two young brothers try to adjust to their new home and neighborhood. The second half of the film, which concerns the two boys' changing opinion of their father, places drama at a higher priority, and the shift in tone is handled smoothly and naturally with no disruption to the story. Ozu is one of the few directors who could make a film about the joys of childhood without wallowing in nostalgia. Many aspects of the film's story have been told before and after Ozu tells them here, but rarely with such insight and charm, as well as a natural feeling for the characters. The two boys' battles, and then games, with the local kids ring entirely true, and the performances by the children are refreshingly genuine (except when they are pretending to cry). The strength of an Ozu film can often be found in the simplicity of his presentation. Even without the aid of dialogue, Ozu displays more insight in a single scene into the subtleties of human relationships (especially in how we inadvertently hurt each other) than most filmmakers display in an entire career. And like the best filmmakers, he uses the camera to reinforce his ideas, not to make up for a lack of them. When he does move his camera around, as in a couple of tracking shots at the school and workplaces, it is almost shocking. ~ Bob Mastrangelo, All Movie Guide