A potential disparity between man and nature underlies Ozu’s films. He suggests that the flow of man and nature may be separate rather than unified, which, within the context of his traditional structure, certainly does create a schizoid reaction. This disparity becomes obvious when Ozu juxtaposes similar codas after contrasting family scenes. A shot of a snow-capped mountain inserted after a discussion by several parents plainly suggests the unity to which they aspire, but the same shot inserted after a parent-child quarrel suggests that the traditional unity may have little meaning within the postwar family structure. The codas can be not only a positive statement on the unity of man and nature, but also a wry commentary on the lack of it.