Ozu's "I Was Born, But..." (1932) is a silent marvel

I Was Born, But... may be added to my personal list of favourite silent films of all time.  It's definitely my favourite Japanese silent film (it's the only one I've seen).  Though it is Japanese and was released in 1932, Ozu's film seems universal and timeless, still fresh after all these years.  I'm not sure if Truffaut saw it, but I can see antecedents to The 400 Blows in its treatment of youth and the school system.

It portrays two young brothers whose family moves to a new city, where they experience bullying at the hands of a local gang of children.  The film deals with how they overcome the rivalries and difficulties on the streets and at school, as well as the friction that occurs at home between the boys and their parents.

There are many idiosyncratic motifs throughout that keep reappearing.  For example, Ozu will frequently portray a passing train in the background of his shots.  I'm not sure of the significance, but they add a pleasing flourish to the mise-en-scene.  There is a frequent return to a focus on a wire ring puzzle and a humorous game which the children play on one another which signifies a death and resurrection.

I watched the film on Turner Classic Movies and in the introduction to the film, Ben Manckiewicz alludes to the tonal shift halfway through from light comedy to dour seriousness.  He also iterates the fact that despite being made in 1932, Ozu and not yet embraced the coming of sound, much like Charlie Chaplin at the time.

The performances by all the players, especially the children, add an element of realism and naturalness to the proceedings, creating a film of poignant impact.  Any viewer can find something to identify with.  Ozu seemed to be a master of holding a mirror up to society.

This is silent cinema at its best, an example of its art form being carried to its absolute height just prior to its disappearance.