Japanese film director Yasuhiro Ozu’s reputation rests largely on a series of austere, quietly wrenching shomin-geki, domestic dramas (such as Tokyo Story and Late Spring) about the lives of average working-class people. Typically, these center on parent-child conflicts, which often work themselves out to the benefit of neither. Ozu's Good Morning (1959), a Technicolor re-working of Ozu's silent I Was Born, But ... (1932), abandons some of the more tragic aspects of the genre for a witty and good-hearted look at a different kind of intergenerational problem.