Thousand Years was very much influenced by a Japanese director called [Yasujiro] Ozu.
《千年善祷》很受日本导演小津安二郎的影响。
Ozu himself hinted at a reservation: "This is one of my most melodramatic pictures."
小津自己给出了一个保留性的暗示：“这个是我最具有情节性的电影之一。”
Yet Oshima's film can also be interpreted as a reinterpretation of and a riposte to Ozu.
然而大岛渚的影片也可以被解读为是对小津的重新诠释和回击。
Boy is also discreetly fixed in the context of Japan's recent history, in a way which again may be read as a response to Ozu.
《少年》也被谨慎地限定在日本近代历史的情境之中，这一做法又一次可被解读为是对小津的回应。
Ozu is an auteur in the traditional sense: one whose style and themes are reiterated with sublime consistency in film after film.
在传统意义上，小津是一位个人风格独特的导演：其风格和主题在一部又一部的影片中，以一种高度的一致性反复重现。
And then this sudden retirement. And the way she did it. She simply announced it. This was no way for an Ozu character to behave.
之后，便是突如其来的引退之举，而原节子息影的方式也是如此意外，她仅仅只是告诉大家：我不再拍片了。一位小津的人物怎会这般行事？
When Richie's Ozu was published, two years later, critics came to realize that this quiet filmmaker was one of cinema's finest artists.
两年后当richie的《小津》出版时，评论家们意识到这个“平静”的电影人其实是个杰出的电影艺术家。
When Richie's Ozu was published, two years later, critics came to realize that this quiet filmmaker was one of cinema's finest artists.
两年后当richie的《小津》出版时，评论家们意识到这个“平静”的电影人其实是个杰出的电影艺术家。
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