Good Morning

Name: Good Morning
Genre: Drama, Comedy, Family
Released: February 1, 1962
Duration: 94 min
Rating: 87
Cast: Chishû Ryû, Haruko Sugimura, Keiji Sada, Kôji Shitara, Kuniko Miyake

1962

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Universal acclaim based on 9 Critic Reviews

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Movie Details & Credits

Shochiku | Release Date: February 1, 1962 | Not Rated

Starring: Chishû Ryû, Haruko Sugimura, Keiji Sada, Kôji Shitara, Kuniko Miyake, Kyôko Izumi, Masahiko Shimazu, Sadako Sawamura, Toyo Takahashi, Yoshiko Kuga

Summary: Two boys begin a silence strike to press their parents into buying them a television set.

Director: Yasujiro Ozu

Genre(s): Drama, Comedy, Family

Rating: Not Rated

Runtime: 94 min

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Critic Reviews

100

Michael Wilmington

Ozu's informal '50s-set remake of "I Was Born, But . . . ." Not as lyrical as its model, but just as penetrating, this one, made in bright colors and flat surfaces that suggest the era's television dramas, has another obstreperous brother-combo who stage gas-expelling contests and wage a war to get, coincidentally, a family TV. [25 Nov 2005, p.C4]

Jonathan Rosenbaum

Devoted to both the profound necessity and the sublime silliness of gratuitous social interchange, OHAYO is a rather subtler and grander work than might appear at first. Read full review

Chuck Bowen

This profound film reveals that nothing is below the purview of existential contemplation, even all matters of flatulence, and words as simple as “Good morning” are revealed to contain fathomless multitudes. Read full review

The Film Stage Staff (Not Credited)

Ozu spins a social and emotional tapestry from a 1950s Tokyo suburb in which two young brothers, desperate for their own TV set, take a vow of silence in protest against the frivolous speech of adult society. Read full review

Ian Johns

Full of humanity, humour and moments of pathos. [08 Jul 2012, p.45]

Staff (Not Credited)

A brimming sense of life, in other words, gradually transforms the small talk into a richly devious portrait of humanity being human. Read full review

Staff (Not Credited)

Ozu makes silence his very subject. In warm and humorous scenes, it emerges as the abyss of the generation gap; but here, Ozu stands his own ironic inversions on their head. Read full review

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