Film scholar David Bordwell discusses Ozu's 1959 color film Ohayo (Good Morning). He analyzes Ozu's use of color, composition, and his characteristic transitional shots. While some see this film as a remake of Ozu's 1932 silent I Was Born, But..., Bordwell believes the connection is not that simple, and contrasts elements of the two films, outlining Ozu's growth over his decades of work, and the variations he worked within his chosen limits.