Now With More Than 3600 Reviews! Go Nuts - Read 'Em All!!

WELCOME! Use the search engines on this site (or your own off-site engine of choice) to gain easy access to the complete MAKSQUIBS Archive; over 3600 posts and counting. (New posts added every day or so.)

You can check on all our titles by typing the Title, Director, Actor or 'Keyword' of your choice in the Search Engine of your choice (include the phrase MAKSQUIBS) or just use the BLOGGER Search Box at the top left corner of the page.

Feel free to place comments directly on any of the film posts and to test your film knowledge with the CONTESTS scattered here & there. (Hey! No Googling allowed. They're pretty easy.)

Send E-mails to . (Let us know if the TRANSLATE WIDGET works!) Or use the Profile Page or Comments link for contact.

Thanks for stopping by.

Monday, September 14, 2009


Just before Talkies reached Japan, Yasujiro Ozu won three consecutive Best Picture awards beginning with this startlingly funny domestic comedy, taken from the same source material he would reconfigure as GOOD MORNING/’59 late in his career. It’s about two young brothers who’d rather play hooky than face all those bullies at their new suburban school. Naturally, their dad finds out what’s going on and sees that they return to class. Soon, the brothers have managed to turn the tide of peer pressure in their favor with their schoolmates, but at the same time they’ve become increasingly aware of how their father bows & scrapes, rather than confronts, similar obstacles at his workplace. What’s the point of gaining neighborhood bragging rights when you know your father is a wuss? While largely focusing on the fights, friendships & shifting allegiances of the kids, Ozu touches on broader issues, all within a story line & comic sequences that could have come from an OUR GANG short. Though the dramatic balance of GOOD MORNING, along with much of the distinctive Ozu directorial style has yet to crystalize, and his use of parallel editing between kids at play & Dad at work is too simplistic, the film remains a breezy delight with a thoughtful third act that enriches all the hijinks without seeming to change gears.

No comments: