Kyoto inn. Daughter and father. Noriko and Mr Somiya. Ozu builds a picture encircled by walls and ceiling, hidden at the end of a corridor, watched from a level of sb sitting on the floor. We see a family in a moment of transition, just before irreversible split, that is reluctant by both of them. Noriko is about to decide about her future but she is under strong social pressure. Conservative Ozu genuinely points her situation as not a possibility but as an obligation. As a determination of usefulness. A director who is nostalgic about passing of time, tradition is on the other hand impressed by new technologies- means of transport, economic growth, women's job, a fact of rising numer of divorce.
It is expressed by the film itself- we observe ceremony of tea prepartion, humble bows for invitiation, theatre play. Drama at an atificial stage takes palce exactly during exchange of glances between two women. Above all there's a famous evening scene with the vase, numerously discussed. The object can be seen 4 times- once before evening, two times when Mr Somiya is falling alseep and next morning. A mute seconds of passage when we're taken from the main scene and are left to ourselves. Just as Noriko herself, but before and after the vase is also a witness of conversation. It looks somehow like the vessels would be a source, a trigger of human's thoughts and a collector of words when she and he are going to rest. A curtain that fall and let the pair have a peaceful night after engaging emotion.