STARS OF By HIDEO TSUMURA As the reviews 01 Japanese and Chinese films in our la8t issues seem to have found interest among our reade-Ts, we aTe ?IOW pttbl-ishing the Btory of Japan's studios, staTs, and directoTS. The altthor i8 a famou8 e:l;pert on the 81tbject who has already been introduced to our readers in connection with h-is film review in our April i8Bue.-K.M. HE present trend towards concentra­ 200,000 yen. The new allotment system T tion and unification in all spheres for the supply of raw film and the -of Japanese life has not passed by ensuing limitation to two films a month Japan's film industry, with the result for each company have already brought that there are now only three companies about a change in this practice. producing feature movies: the , All three companies are now direct­ Dai Nippon, and Film Companies. ing their efforts towards the production While until recently there were five of great works, and the average budget .companies, each producing eight films for each film is now around 200,000 yen, a month, the three present companies while films costing some 300,000 yen are now limited to the production of will also be produced in considerable two films a month each. This fact is numbers. However, super-productions bound to have far-reaching effects upon costing around 500,000 yen will be -current and future productions. limited to only a few a year. "QUICKIES" A further increase in expenditure on films cannot be expected until the In the past, Japanese films were, market for them has been considerably with few exceptions, produced as expanded, and the South Pacific regions, ·quickly and as cheaply as possible. which are the obvious goal in this Their distribution was limited almost direction, will hardly be opened up entirely to the domestic market; the for Japanese films before next year at only export before the war went to the very earliest. French Indo-China, Japanese residents in Hawaii and on for example, has so far only imported the Pacific coast of the United States two Japanese feature films, although and was limited to a few films a year. it is hoped to increase this number Moreover, each film company in Japan this year. The market for Japanese had its own chain of movie houses, educational and cultural shorts is slightly so that every film was shown in one more favorable. ·of these chains only. First-run theaters TWO AGES -seldom show a film for more than a week. There were hardly a dozen An interesting and unique character· films a year which could be shown istic of Japanese film production is for two consecutive weeks, so that the fact that it is divided into two films were generally passed on quickly separate and entirely different types, to second- or third-run houses, where the historical and the modern. Each the admission fees are very low. type has its own studios, its own directors and actors. This factor, All this combined to make the film together with the situation created by companies turn towards the production the amalgamation of former companies, of "quickies," as four films costing has resulted in each of the present 50,000 yen each were more profitable three companies owning several stu­ .and less risky than one film costing dios. 432 THE XXth CENTURY

The Shocbiku Film Company has of the eye sockets and in the shape of three studios, that in Ofuna near the nose. The Western face often where modern films are made, and lends itself particularly to camera two in Kyoto producing historical lighting, and it appears in many cases films. Ofulla is a town near the sea, more beautiful on the screen than it about an hour's train ride from Tokyo is in reality. and noted for its scenic beauties. The Ofuna studio is the largest in Japan, However, the Japanese face has covering twenty-five acres. It employs changed with time, and especially the some of Japan's best-known directors type of the Japanese woman's face has and a large number of beautiful young witnessed a remarkable change during actresses and popular young actors. the past ten years or so. The ideal Its specialty is pictures dealing with women of the Meiji Era (1868-1912) modern city life. generally had oval faces with long, narrow eyes. Today the round-shaped One of the Kyoto studios, in the face is on the increase, while the eyes vicinity of the beautiful Kamo River, are larger and closer to the Western is not being used at present. The ideal of beauty. Modern city women other is located in Uzumasa, a suburb have entirely given up the style of of Kyoto, where there are also two make-up fashionable during the Meiji studios of the Dai Nippon Film Com­ and Taisho Eras (before 1926) and pany. All these studios specialize in have adopted that set by modern historical films, for which Kyoto, with Western film actresses. Hair and clothes its many historical buildings and its styles have also changed accordingly. beautiful scenery, provides an ideal background. Thus with this change in the shape of the Japanese face the number of The most modern Japanese studio men and women with faces suited for as regards equipment is the Tokyo the screen has increased. l\foreover, a studio of the Toho Film Company. In special technique to bring out the it both modern and historical films are beauty of the Japanese face has been produced, and it is noted for its invented simultaneously with the prog­ veteran stars rather than for the youth ress in the art of photography. For­ and beauty of its actors and actresses. eign cameramen can hardly imagine to It is best known for the musical com­ what lengths their Japanese fellow­ edies it brings out every year, starring photographers go in order to catch the such famous stage comedians as Roppa characteristic beauty of , and Enoken. It also produced Night a favorite star of long standing. in China, emphasizing popular music and starring Li Huang-Ian, an actress STAGE vs. SCREEN of the Manchukuo Film Company. Another characteristic of Japanese The Dai Nippon Film Company also film actors is that there are only a possesses two smaller studios in the very few who have come to the screen suburbs of Tokyo producing modern from the stage. The reason for this pictures. is that the Kabuki drama, the favorite theatrical entertainment in Japan, is THE JAPANESE FACE the art of style. This means that its Generally speaking, Japanese' actors actors are quite unsuited to the re­ and actresses are considerably hand­ alistic art of the camera. In addition icapped in comparison to their European to this, all women's parts in Kabuki and American colleagues, for the J apa­ are played by male actors known as nese face is not altogether suited for Oyama, and there are no actresses in the screen. Above all, it is a little too the whole Kabuki theater. Even in flat to show deep, expressive shadows the new school of drama which arose when lighted up for the camera. In in the Meiji Era, actresses did not most cases it lacks beauty in the hollow appear until some ten years ago. STARS OF JAPAN 433

Even now there are three Oyama has had a screen life of some twenty among its leading actors. years, yet she is scarcely over thirty­ Only those actors who have grown five. She is still immensely popular in up in the Tsukiji Little Theater young girls' parts, although her face are more or less qualified for the does not represent the pure Japanese screen. After the disbanding of this type. Her favorite role is that of a group, almost all of its members, who modest and tragic heroine in Japanese had long been trained in the acting of dress, and her acting is full of passion. modern Western drama, joined film She is not married. studios. In the end, however, it is is a typical Japanese those actors who are exclusively film beauty. She has a rare talent in that stars who are popular with the public. she is good in both historical and modern Although, owing to lack of stage films. Her father was a famous stage training, they may not be proficient in actor of the new school of drama, and the technique of dialogue, they have she received an excellent training in pure the freshness of youth and the spirit Japanese music and dancing. The roles of modern times. she likes best are those of girls of the Meiji and Taisho Eras and of A third characteristic of Japanese smart~looking professional entertainers. film actors is that they are divided In a recent production she played the into the two groups mentioned before, part of a Chinese woman spy. Although namely, those acting historical roles Isuzu Yamada has been before the and those representing modern char­ public eye for twelve years, she still acters of everyday life. Since the has a great future ahead of her. very beginnings of Japanese film pro­ duction, more than thirty years ago, Among the younger stars of the this pronounced difference has been Shochiku Film Company I would like noticeable. Each film company has to mention (Figs. 8,12), separate studios for these two types who is outstanding for her cultured of film, each with its own directors, and refined beauty. She is particularly actors, and cameramen. The main good as a young lady of rich family. reason for this is that there is too She recently made her fir~f: appe:lrnnC9 great a dilt"erence between Japan's in a historical film, The Forty-Seven traditional manners stnd customs ond Roning. those of the present day, influenced by l\Utsuko Mito (Fig. 6) is especially the West. Thp llv9rngQ actor enn lJulJular among hlgh-school and college hardly be expected to be good in both students. She usually pln.ys the part modern ond hi5tucical parts. Never­ of a timid, lonely heroine in a tragedy. theless, during the last two or three She was discovered at a c~rtaill famous­ years this method of specialization has hot-spring hotel. Being relatively in­ not been so strictly observed, and experienced, she, like Mieko Takamine, there have been several cases of one needs the guidance of an able director type acting in parts of the other. to bring out tbe best in her. Both actresses dress well in Western clothes. STAR ACTRESSES . .. Another outstanding star is Takako For the modern film, the Japanese Irie (Fig. 4), born of a noble family studios have many young and able and well educated. Her screen life actresses, but only very few actors. dates back to the period of silent On the other hand, in historical films pictures. In her early appearances able actors overwhelmingly outnumber she usually played the part of a modern actresses. Let me introduce some of girl. Later, when sbe came under the­ Japan's young movie stars. directorship of (Fig. The two outstanding and most popular 5), she showed great talent for imper­ actresses are Kinuyo Tanaka (Fig. 2) sonating the women of the Meiji EF~ and Isuzu Yamada (Fig. 3). Miss Tanaka Since severing her connections· with 434 THE XXth CENTURY

Mizoguchi, however, and establishing China front, and in Ea1·th he displayed her own independent company, !rie's the love of a poor and unhappy farmer art has been on the decline. Her main fOT his daughter. Kosugi is not gifted weakness is poor dialogue, which is a WJth a rich or beautiful voice, and he great handicap in talkies. In her still has a trace of the provincial appearance she is comparable to Isuzu accent of northeastern Japan, but his Yamada in that she represents the elocution is very natural. purely traditional beauty of the Japa. nese woman. While Yamada is a His greatest merit is that he acts strong-willed personality, Irie is best the purest type of Japanese. Up to at expressing pathetic emotion. now, most Japanese actors were in the habit of more or less imitating Yukiko Todoroki (Fig. 10) was a foreign film actors. This was par­ famous star of the Takarazuka Girls' ticularly noticeable in the affected Opera before joining the movies. She acting of young stars in modern films. is very popular for her lovely, bright Isamu Kosugi was strong enough to beauty and wit, and is typical of the depart from this custom and thereby modern young Japanese girl. to influence other young actors for the better. In recent historical pictures Japanese films suffer from a lack of such as The Forty-Seven Ronins, how­ competent actresses for middle-aged ever, Kosugi was less successful. or elderly parts. In fact, there is only one really outstanding actress in Among other actors of modern parts, this group, , who I might mention Makoto Saburi (Fig. comes from the Tsukiji Little Theater. 9), whose playing is simple and un~ Her real life is still on the stage, and affected but still lacking in charm; she is the leader of a new theatri­ Shuji Sano, who has been away from cal group known as Bungalcu-za. If the screen for some time due to his acting talent alone is taken into being at the front; and consideration, and looks and popularity (Fig. 7), who has less acting ability are disregarded, none but Tanaka and than the other two but who is adored Yamada can compete with Haruko by many women fans for his sensitive Sugimura. beauty. However, these three stars do not count for the intelligentsia as .•. AND ACTORS does Isamu Kosugi. Among Japan's movie actors of Middle-aged Reikichi Kawamura is modern roles, !sarnu Kosugi (Fig. 1) very able in supporting roles. In is by far the best. His case is unique comparison with European and Amer­ in that his artistic talent matches his ican films, Japanese films generally popularity. Although there are other suffer greatly through their lack of a young actors who enjoy great popu­ competent supporting cast. larity, especially among women, they MURDER AND SUDDEN DEATH are hardly distinguished for their acting Ej.bility. Isamu Kosugi has come There are many actors specializing to the top during the last five or six in historical films who enjoy great years and has shown great versatility. popularity without, however, having In Endless Advance he acted the part the approval of the intelligentsia. Since of an unhappy old employee; in Naked the earliest days of Japan's film in­ Town that of a hard-hearted old dustry, historical films have been pro­ usurer; and that of a unit commander duced in a quantity almost equal to fighting on the China front in Fi e that 'of modern films, and it is only Scouts, a film-masterpiece accepted for during the last two or three years that the Film Exhibition in Venice. In all historical films have begun to decline these movies his acting was a sensa­ in number. tion. In Mu,d and Soldiers he took All leading actors in this group are the part of a brave soldier on the veterans who have been on the screen F IVE STARS AND

A GREAT DIRECTOR

(5) Kcnj i 1\1 izogm hi, veteran direcLor of (4) T"kaku Iric, historical pictures, who slJccilllizCf; Th(: [·'"r/y-S"V('11 in wOll1en uf the [-{ollills is his must J\l~iji Era rccent produclioll

(3) ISl1Z11 Yamada, typil'al ./ a pa nese beauty, and .Kazllo Hasegawa, in a histol:ical picture YOUTH TO THE FORE

un l\litsuko Mito. (7) Ken Uehara, who was discovl'n'u Japanese matinee in a hot-spring idol hotel

\10) Yllh~i1wTuJu­ ruki, furmerly a ;:;LiU" of the T,,­ karazuka Girls' Opel"l'

(8) Mieko Talwmine in a scene from lJ,nthor (Iud Si;JlO'j­ of the Tor/(1 Family STARS OF JAPAN 437 for some twenty years. The foremost even greater attention than his Western of them is Denjiro Okochi (Fig. 11). a colleague. character actor whose grim mask earned It was about 1931 that the first him the name of "Japan's Emil Jan­ talkie appeared in Japan. but it was nings." Like Kazoo Hasegawa (Fig. 3), not until 1935 that all productions of Chiezo Kataoka (Fig. 14), and many the leading companies were made as others of his colleagues, he came to the talkies. As in the West, the transitional top through the vogue enjoyed by the period from silent pictures to talkies "sword-fighting plays!' These pictures was a time of technical difficulties as featured samurais excelling in the art well as temporary confusion. Since of swordsmanship, men of chivalrous 1937, however, Japanese films have spirit. They always climaxed in a begun to show considerable progress. sensational scene in which these heroes Until then only very few great works killed off more than a dozen enemies. of literature had been filmed, and Although these films dealt with murder among the movies made from popular and sudden death, they were never novels or from original scripts there unpleasantly realistic. On the contrary, were not many which expressed the much beauty was lavished on the scenes. real life of modern Japan. In spite of the underlying heroism, however. the authorities prohibited the OUT WITH SEX APPEAL production of such films when they ran Simultaneously with the outbreak of too contrary to historical facts. As a the China incident, which brought about result of this, inferior "sword-fighting a tension in the social situation, Tomu films" have disappeared almost entirely, Uchida (Fig. 13) and Tomotaka Tasaka while films dealing with typical events (Fig. 16), both directors of the former in the history of "Nippon Bushido," Film Company, gallantly took with minute description of customs and upon themselves the task of a reform. manners, are being encouraged, as was Tomotaka Tasaka aimed above all the case with The Last Days of Yedo at depicting the simplicity and sincerity and The Forty-Seven Ronins. of the Japanese. The main contribution The Zenshin-za, a group of young made by both directors was the de­ Kabuki actors, produces about two scription of country life and country films a year. Kwanemon Nakamura is people. Until then Japanese films had its leading actor. Although not so dealt mainly with the city life of popular, his talent is far above that of Tokyo, and their chief theme was the the stars of the "sword-fighting plays." love affairs of men and women of the Nakamura was excellent in A Family upper and middle classes. Moreover, of Abe and in the second part of The their attention was devoted more to F01·ty-Seven Ronins. the portrayal of women thaD of men. Chojuro Kawarazaki, the head of the This emphasis on sex appeal may be Zenshin-za, is also an able film actor, attributed in part to regard for box­ and he is good in samurai parts. Both office returns and in part to the in­ these actors, however, have their strong fluence of the American films. The points in well.trained elocution rather works of Directors Tasaka and Uchida than in facial expression. dared to run counter to this current. In Earth. Uchida described the affection DOUBLE DUTY between the father and daughter of a poor peasant family. In Life Theater A peculiarly striking fact about be dealt with the Tokyo college life of Japanese film directors is that the a humble country youth and described majority of them write their own true Japanese sentiments such as the scenarios. This is due to the lack of youth's devotion to his old father in good scenario writers. Hence the the country. Although not without director is also responsible for the some clumsiness, he picturized them story of his production and merits with deep sincerity. 4:::S THE XXth CENTURY

In Five Scouts, Tasaka showed the "FILM POETS" spirit of loyal Japanese soldiers, It is difficult to find a director great and not a single woman appeared in enough to produce a film which is as this film. Quite contrary to the excellent as a work of art as it is generally accepted idea that a film successful as a commercial undertaking. without women has no appeal, this Kenji Mizogucrn (Fig. 5) comes nearest picture impressed the whole nation. to this ideal. He is a veteran director In 1939, .Tasaka directed a picture and· used to specialize in films of the made after Ashihei Hino's famous Meiji Era. In his latest work, The Mud and Soldiers. This tilm was FOTty-Seven Ronin.e;, he handled for the awarded a special prize by the Minister first time the "Tokugawa period. His of Education. chief talent lies in his exquisite ex­ Another director who has been in­ pression of tender emotion and in the strumental in furthering this new trend beauty of his poetic sentiment. He is is Shiro Toyoda (Fig. 15). He made unsurpassed in the art of portraying his name by the filming of the famous the heroine of a tragedy. His only novel Yo1£'ng People by the popular defect is a slight lack in tempo. author Yojiro Ishizaka. The film Yasujiro Ozu (Fig. 13) is also a great .depicts the pure love between a man "film poet," but has a keener sense of and woman teacher of a girls' school tempo. His most recent work, B?'othel' in northern Japan and their affection and Siste'r of the Toda Family, de­ for an unhappy pupil. In 1940 he scribes the psychological complications produced a masterpiece, Sp'ring on a between a mother and her children in Little Island, which dealt with the life an upper-class home in Tokyo. Although of a woman doctor in a leper hospital excellent in his artistic skill, Director in western Japan. Although the story Ozu's negative character prevents him is a simple description of this woman's from keeping pace with Japan's new life at the hospital and her efforts at era. He might be called the antipode finding victims and bringing them to of Tasaka, Uchida, and Toyoda. the hospital, the film was deeply moving Japan's film circles are now confronted and even a little romantic because it with a second transitional period. Old­ was beautifully harmonized with the timers like Yasujiro Shimazu and Tei­ lyrical description of the spring sea. nosuke Kinugasa (Fig. 17), who is still His more recent films were less suc­ the highest-paid director in Japan, cessful. together with Yasujiro Ozu form the conservative bloc; while Tasaka, Uchida, Although the works of these three and Toyoda, followed by a group of reformers command great respect among rising young directors, are advancing intellectuals, it cannot be said that with a strong determination towards they have gained the wholehearted the representation of the realities of support of the general public yet. Japan's new era. (I::!) :\1 icko Takamine playing th· parL of Omino In The Forl!l-Scu('11 RIll/il/s, In thi ~c('ne shc commits suicide «,s desl"rihf'rl in OUI' article "The (11) Denjiro Okochi, "Japan's Emil Clpital," April 1~11:!) Jonnin 's"

Historical Films

and

Leading

Directors

\ Lil) lJircctors Tomu Uchidn (left) and Yasujiro Ozu (right (1,1) l'hi"zo Kataoka, star of his­ torical "sword-fight inC' plavs"

(Iii) Director TOlllotaka Tn ak'" also a I'rogrei:lsi,'e pro