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Early Summer
(Yasujirô Ozu, 1951)
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Contrary
to received opinion, Yasujirô Ozu does sometimes move his camera. And
when he does as is usually the case when filmmakers do something in
an exceptional way (i.e., Mizoguchi's rare close-ups) it is wonderful,
because it is fully motivated, even if not strictly necessary.
Part
I: Three
Godfathers
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