Yasujiro Ozu began to exhibit here the stylistic and thematic tropes that would sustain him for the remainder of his career: the "pillow shots" between scenes offering poetic digressions from the main action; the low-angle, almost static camerawork; and the preoccupation with lower-middle-class attitudes and the need to progress. Often ranked alongside Tokyo Story, the tale of professor Chishu Ryu's attempts to marry off Setsuko Hara, the daughter on whom he depends, remained one of the director's favourites. With its harmony of composition, tone and performance, it's easy to see why.

Noriko is perfectly happy living at home with her widowed father, Shukichi, and has no plans to marry -- that is, until her aunt Masa convinces Shukichi that unless he marries off his 27-year-old daughter soon, she will likely remain alone for the rest of her life. When Noriko resists Masa's matchmaking, Shukichi is forced to deceive his daughter and sacrifice his own happiness to do what he believes is right.