We thought it prudent to fully compare in our existing reviews of the two films - respectively The Only Son and There Was a Father. We've given some screen capture examples below...

Criterion have released these two Ozu masterpieces (There Was a Father  and The Only Son) in digitally restored, superior, editions in a package obviously entitled - The Only Son / There Was a Father: Two Films by Yasujiro Ozu. Criterion have performed their magic with the occasionally severe damage lessened to a noticeable extent. Contrast has been manipulated for specific scenes (no blanketed) and even the hollow, tinny, audio (1.0 channel mono on the Criterions) seems much better. Most apparent is the improved subtitles (always a failing on Panorama DVDs) in the areas of grammar, spelling and absentee dialogue. The Criterions are dual layered (on separate discs) and progressive while the Panorama's are single-layered with combing present. The Panorama There Was a Father is notably horizontally stretched out of ratio.

NOTE: Audio still has issues and, digitally speaking, can only be improved so much. I was resigned to live with the weaknesses on both Panorama editions but I could identify some improvement in the new Criterions. However, purchasers should not expect miracles. This is one area that extensive work is still required. Thankfully there is minimal dialogue and the newly rendered subtitles are excellent. 

From the tabled screen captures below you can see that the Criterion transfers are indeed pictureboxed - with a black border circumventing the frame - marginally limiting the resolution. For a detailed description of picture-boxing see our Kind Heart and Coronets review HERE. Overall the Criterion seems to show a shade more in the frame - but it is mostly negligible.

Supplements include newly recorded video interviews with film scholars David Bordwell, and Kristin Thompson (2 x 20 minutes for both features) and some time with Tadao Sato on The Only Son disc. What's super are the liner notes for each film - amounting to almost 50 pages in the two booklets featuring essays by critic and historian Tony Rayns, an appreciation of actor Chishu Ryu by Japanese film scholar Donald Richie, and comments by Ryu on director Yasujiro Ozu - as well as images from the films. Treasured keepsakes.

To get these any further along it appear both titles require restoration at the film level which could be a very expensive proposition. I won't complain about Criterion's level of commitment here. These represent two of my favorite films of all time, let alone the director, and while not pristine a/v - it was like a brand new viewing with the improved detail, grain, contrast and subtitles. I can't recommend films any higher...

Gary W. Tooze