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How sad is this?

Beautiful, moving film.

I enjoyed watching this film and would recommend other to give it a try , (as I am) but this movie, although enjoyable to watch due to the better than average acting fails to add anything new to its storyline that is all too familiar to these types of movies.

Worth seeing just to witness how winsome it is.

Ozu said he wanted to make a film about people's inability to express the important things, but natter on about unimportant gossip. This all comes out thanks to two boys that really want a TV. They enter into a vow of silence until their TV comes. This silence is misconstrued by the neighbours, who think their mother is angry at them. They begin to gossip amongst themselves and rumors soon start. Meanwhile, the young boys' aunt and teacher are attracted, but fail to act on their emotions. This is a lovely little film, filled with some great humor. Though, I must admit, there was a bit too much focus on the poo/farts jokes. The two boys, especially the youngest, are very cute and make their efforts to get a TV seem less brattish. It's really sweet to see how dedicated the parents are, and even though the kids are kind of mean, they do appreciate the gift in the end. There's no escaping Ozu's look at the clashes between old and new, with the TV looming over all procedures as something that will change life. A little gem, if not one of Ozu's classics.

This movie is an ode to snotty, spoiled kids everywhere. Kids who make life so uncomfortable for their parents with all their pouting and tantruming that parents will give them just about anything just to get them to behave for half a second. This is an old movie— from 1959—but it just proves that kids have always been little brats. The film is set in small- town Japan. It's one of those little, isolated places that's known for its stereotypically catty, gossipy women, and uninterested, emotionally distant husbands. With all the adults paying attention to their own, petty problems, children are left to run wild. And this story stars a pair of particularly stubborn, yet adorable, little school-aged brothers. These little hellions are used to getting what they want, and this time, their campaign of terror is directed toward forcing their parents to buy one of those new-fangled TV sets. You know, like the one the bachelor next-door, and that loose woman he's shacking up with let them watch after school (gotta love those 1950s morals, don't you?). Well, these boys have learned a thing or two from past experience, so they know that if they hold out long enough, they'll be able to wear down their parents' resolve. It's a war of attrition, and these kids have nothing but time and energy. Plus, they don't have those pesky consciences to make them feel bad about any of this. They're willing to make their parents' lives holy hell until they get that TV set.The film is done in Technicolor so it's got that awesome, retro look. Somehow, that limited color palette breeds nostalgia, making the past seem a little better than it probably really was. Even these little stinkers seem a little bit cute with their self-indulgent antics (for a little while, anyway). But, it's also kinda fun to see what Japan was like in the late 50s. I already had an idea what the United States was like, but I hadn't really seen or learned that much about contemporary culture in other countries. It seems like a lot of the clothing fashions were the same as here in the US. But each country is going to have its own, distinct social structures at play. I'm glad I watched this one. It's not the most amusing movie ever made, and it does stretch pretty long. It claims to run only ninety-three minutes, but it's actually an hour longer, at one-hundred fifty. That's kind of a big problem. But, I think it's still worthwhile.

This is another gem from the master filmmaker. Though it is somewhat different from other Ozu films that it is centered around kids rather than the parents and it is a light comedy film rather than a dramatic one, it is still as marvelous as Ozu's Tokyo Story.Though I have seen movies by other great directors that handle kids really well, Vittoria Di Sica and Satyajit Ray come to mind, they did in a more dramatic fashion. This is much more close to life. It is an ordinary story but told in an extraordinary manner.It is full of amazing characters, whether it is the knife wielding, muttering grandma, the two kids around which the story revolves, the two salesmen or the English teacher. Rarely have I seen a film in which so many minor characters leave such impressions.When I think about it I can't find any fault with the movie, so this movies get a 10 from me. Must See for all cinephiles.

Of the Big Three Japanese film directors from last century, who were known in the West, Kenji Mizoguchi, Akira Kurosawa, and Yasujiro Ozu, Ozu is by far the least well known, and this is because he was probably the least technically innovative of the troika. But, that is not the same as saying he was the least accomplished. In fact, his 1959 social comedy of manners, Good Morning (Ohayo), set in a modern Tokyo suburban subdivision, is in many ways far more relevant than the more famed period pieces the other directors made, for it has a definite Western sensibility. Ozu seemed to be obsessed with documenting history, but history as it was lived, not re-imagined. He was acutely aware of his role as a social documentarian, if in a fictive sense. It was also his third color film, and on the surface it would seem to narratively square very easily with the 1950s era American television comedies, as the central story of the film revolves around two brothers' silent protest over their clan's refusal to modernize and buy a TV like their friend's family has. It all seems very Beaver Cleaver, but appearances are not everything, especially when the patina is crafted by a Master from another culture.Most of the film is shot in Ozu's famed and unjustly derided low camera angle, with a static lens, lending the charge of 'minimalism' to his style. Yet, while that may be true in certain technical aspects, the truth is that the film, written by Ozu and Kogo Noda, is very multi-layered, deftly weaving low comedy- such as excessive farting, and all the modernism that entails, as the boys play a game where one boy presses another's forehead and he farts in response, with deeper social commentary on alcoholism, the 'generation gap'- that old saw of the era, unemployment, and the bile of social gossip. The seemingly carefree farting of the children is thus deftly contrasted with the often ineffective social mechanisms of the adults. The title of the film, in fact, has an ironic meaning, for Ozu casts it as being said mostly in a negative and perfunctory way…. Compared with American suburban films from later years, like Ordinary People, or even films made in the last decade, like The Ice Storm or American Beauty, this film does not seem dated, especially compared to American film comedies of the era. Compare it even to a typical Billy Wilder comedy of the era and Ozu's superiority is manifest, almost as much as a fart is to some meaningless bon mot. Ain't art wonderful?