Definitely don't play a drinking game where you have to drink every time someone farts or poops their pants, or you'll be hammered.
I know I'm swimming upstream on this one, but it's hard for me to understand why this film is so popular. The plot is tedious. The humor is juvenile. The cinematography is unimaginative. The best part is easily the little boy, whose cuteness, antics, and English "I love you" are worth a star on their own, but that's about it. The film focuses on the relationship between generations, and seems to say that we need to respect our elders (as the absent-minded grandma points out, does her now-adult daughter think she raised herself?), but at the same time, tolerate our youngsters (as there is some serious defiance and misbehavior by a couple of boys who want their parents to buy them a television). It's a nice thought but clumsily delivered, and between the petty gossip between the wives and other banal subplots, there just isn't that much material here.
I can't understand why director Yasujiro Ozu fell in love with the simple straight-on, low angle for his default camera position for most of his dialog (in this film and others). I get bored with it, rather than feel as if I'm in the scene on a tatami mat. I loved the silent film of his that some say this one is loosely based on - "I Was Born, But..." (1932). That one had the cute antics, but was also intelligent and better directed by the younger Ozu.
I know I'm swimming upstream on this one, but it's hard for me to understand why this film is so popular. The plot is tedious. The humor is juvenile. The cinematography is unimaginative. The best part is easily the little boy, whose cuteness, antics, and English "I love you" are worth a star on their own, but that's about it. The film focuses on the relationship between generations, and seems to say that we need to respect our elders (as the absent-minded grandma points out, does her now-adult daughter think she raised herself?), but at the same time, tolerate our youngsters (as there is some serious defiance and misbehavior by a couple of boys who want their parents to buy them a television). It's a nice thought but clumsily delivered, and between the petty gossip between the wives and other banal subplots, there just isn't that much material here.
I can't understand why director Yasujiro Ozu fell in love with the simple straight-on, low angle for his default camera position for most of his dialog (in this film and others). I get bored with it, rather than feel as if I'm in the scene on a tatami mat. I loved the silent film of his that some say this one is loosely based on - "I Was Born, But..." (1932). That one had the cute antics, but was also intelligent and better directed by the younger Ozu.