Word: 53rd
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Autumn Afternoon. 1963. Directed by Yasujiro Ozu, his 53rd and final film. A profoundly simple film about an aged widower hanging on to an only daughter who has reached marriageable age. The old Japanese culture of tradition and ceremony is giving way before the Japan of its sons caught up in a scramble for things--golf clubs, refrigerators, hand-bags. It is a fully realized testament to the Ozu art; the still camera hugs the floor, the rhythmed sound and patterned surfaces give to his subjects the dignity due them. Harvard Square Cinema...
...worked on his 53rd and last film in 1963, Yasujiro Ozu may or may not have known that he was near death from cancer. But An Autumn Afternoon has a feeling of firm, final wisdom and of almost transcendent serenity. It is a quiet film, but not a delicate one. The force of An Autumn Afternoon is inescapable, the strength of insights accumulated and stored over a lifetime, fully justifying Ozu's reputation as the most Japanese of all Japanese directors...
...elegant script of a wedding announcement and placed as an advertisement in the Wall Street Journal, Hoving declared: "We are very sad to see that you are once again polluting the aesthetic atmosphere of Park Avenue by lighting that loud and vulgar Christmas tree on Park Avenue and 53rd Street...We earnestly urge you to put out those glaring lights." At first the bank gasped. Then it began explaining that 1) the tree was not "vulgar" but was a creation of the celebrated design firm of Raymond Loewy/William Snaith, creators of, among other things, the Coca-Cola bottle...
SANDERS THEATER: 53rd Annual Dartmouth Concert, featuring the Harvard-Radcliffe Orchestra and the Harvard University Band...
Though The Outside Man is Trintignant's 53rd movie in 17 years, the quiet, diffident actor is relatively new to the luxury of choosing his films and directors. Trintignant, 41, has emerged only in recent years as a superbly subtle technician of the screen. His taut, understated performances have included such diverse characterizations as the driven public prosecutor in Costa-Gavras' Z, the uptight Catholic in Rohmer's Ma Nuit Chez Maud and the intellectual fascist-killer in Bertolucci's The Conformist. Trintignant's acting style is condensed to a prodigious point of thrift...