@article{oai:dwcla.repo.nii.ac.jp:00001935,
 author = {宮本, 明子 and MIYAMOTO, Akiko},
 journal = {総合文化研究所紀要, Bulletin of Institute for Interdisciplinary Studies of Culture Doshisha Women’s College of Liberal Arts},
 month = {Jul},
 note = {application/pdf, AN10052143-20200817-121, Director Yasujiro Ozu’s Late Spring (1949) has been referred to as Ozu’s perfect work. As the title was credited on the film, it was borrowed from Kazuo Hirotsu’s short story, Chichi to Musume. However, as Ozu clearly stated, the conclusion in the film is different to Hirotsu’s story. If so, what are the main themes of Late Spring? Compared to Hirotsu’s short story and Ozu’s other work, this study examines the main themes of Late Spring.
First, one of the themes in Late Spring develops around the expression of the “lie.” In Hirotsu’s story, readers are made aware of the father’s “lie,” and his motive is described in detail. While a novel may communicate its characters’ inner discourse through narration or a narrator, it is impossible for a film to do the same without the support of a voice-over or subtitles. However, without resorting to any of these techniques, Late Spring deliberately withholds the truth from its audience. The final scene where the father confesses that he had “lied” to his daughter is far more powerful than just a final revelation. The facial expression of Chishu Ryu, who portrays the father, when he first “lied” is also worth noting. Presenting a stern face without a twitch or a smile, he simply answers “un” when his daughter asks him if he was really getting remarried. Chishu Ryu’s “expressionless face” is instrumental to the success of this film.
Second, in Ozu’s works before Late Spring, the pattern of developing a “lie” theme can also be seen in Hakoiri-Musume (1935). Here, we can see the same pattern of deception in the girl’s “lie.” Worthy of attention here is Kogo Noda, the screenwriter, who had participated in both films. Late Spring was their first collaboration in 14 years since Hakoiri-Musume, after which, they continued to co-write film scripts.
In this way, we can see the themes of Late Spring based on and borrowed from Kazuo Hirotsu’s short story; however, Ozu and Noda created an additional “lie” theme in Late Spring., 論文},
 pages = {121--132},
 title = {『箱入り娘』から『晩春』へ},
 volume = {37},
 year = {2020}
}