NO RETURN
Starring SUMIKO KURISHIMA
"Why do people die?"
"I want to live forever."
"I'm your wife. Even in death."
Around the year 1921...
the cinema was still called "moving pictures."
In 1896 a machine was imported from America,
which projected moving images using electricity.
It could be said that this was the beginning of Japanese cinema.
In its long history...
many things have happened to the cinema...
as they have to Japan.
Is it coming out all right? - It's a bit tricky.
Your fade-down is a great help to us.
Did you develop all night? - Yes... more tonight.
We're shooting again tonight too.
We've done it.
You get an allowance for helping us, don't you?
Well, sort of... it only pays for a few games of billiards though.
Isn't it strange?
When the projector begins to roll...
the people in the picture start to move.
The picture moves... - That's why it's called 'moving pictures'.
It's obvious. You're too easily impressed.
I'll turn on the water for the rinse.
The film should be fixed by now.
How clever to invent such a thing...
~ EIGA JOYU ~ ( Actress )
Commemorating Kinuyo Tanaka's 99th film.
Produced by TOMOAKI TANAKA KON ICHIKAWA
Screenplay by KANETO SHINDO SHINYA HIDAKA, KON ICHIKAWA
Music by KENSAKU TANIKAWA
Starring
SAYURI YOSHINAGA
MITSUKO MORI
KOJI ISHIZAKA
BUNTA SUGAWARA
Directed by KON ICHIKAWA
Where are the saké cups? - I don't know.
TAISHO ERA 15 (1926)
Have another look. TAISHO ERA 15 (1926)
Where are they? TAISHO ERA 15 (1926)
Leave the sliding doors.
We may as well take them too.
My God it's hot!
Only three saké cups...
Snapper!
You're being generous! - Of course.
Dinner's going to be great. - Hardly.
Yours are over there.
What? We only get sardines?
Kinuyo, dear...
You shouldn't be working. Sit down.
We're short on cushions.
There'll be seven of us.
It's so hot. We won't need them.
Is the snapper all for Kinuyo? - I'll show you.
There's another one in here.
I put it aside. - Who's that for?
Who'd you think... Mr. Shimizu.
Mr. Shimizu?
Naturally.
He's why Kinuyo starts work today...
at Shochiku Cinema's Kamata studio... it's all down to him.
An on-call novice. - Shozo!
And that's worth celebrating, isn't it?
When Mr. Shimizu left the Kyoto studio...
for the Kamata studio in Tokyo...
Kinuyo was only a casual apprentice actress.
He said to be successful, she'd have to go to Tokyo...
and kindly asked her to accompany him.
So it's only proper...
that we express our gratitude to Mr. Shimizu for his faith in Kinuyo.
And I decided to go with her to Tokyo.
Only I wasn't sure I could manage alone...
so I persuaded you to come.
You even gave up your job to come. - Not like that.
As far as I'm concerned, I'm the one who's indebted to you.
Of course... Shozo and Haruji just had to tag along too.
I see you're here!
Now Kinuyo has to support us. - Not me. I'll find a job.
That's enough.
I'm the one...
who asked Kinuyo if she'd mind if we all lived together.
I prefer it like this.
You're such a sweet girl.
But you know... - What?
After we got here, I started to worry...
what if Kinuyo didn't get accepted.
I'm so happy!
Ahh that too... is thanks to Mr. Shimizu.
On top of that... he even found us this house.
This is like heaven compared to our old place...
five of us packed like sardines in one small room.
Mother! The fish is burnt.
What were you doing?
You were careless. It's your fault, Mother.
Kinuyo...
When you met the head of Kamata studio...
Mr. Shimizu went with you, didn't he?
He took me to the door, but I went in on my own.
I almost wet my pants.
You what? - None of your business.
Name?
Kinuyo Tanaka, sir.
You must have been so nervous.
You could hardly stand, could you?
I can well imagine. - I stared at him straight in his face.
He just asked my name and then didn't say a word.
I was afraid he was going to send me back to Kyoto.
But then as you left, he gave you a tin of fruit drops.
Is the fish all right? - This is the other one.
To him I must have seemed like a child. I felt miserable.
He must have liked you though.
Important people are like that.
They only give things to people if they like them.
So he gave her fruit drops? - It was all he had to hand.
And then Mother puts them on the family altar.
And why shouldn't I?
They were a token of Kinuyo's getting the job.
I've offered my thanks many times over.
When Kinuyo said she wanted to become a movie actress...
weren't you the one who objected most?
You did just as much.
You said all actors were shameless.
Mother even said she'd disown her.
So I did.
I'd heard that movie actors were social pariahs.
But you know... for me...
when I saw her on stage, I knew she was right for it.
Wasn't it to help support the family...
that Kinuyo left school to play on stage?
Well, maybe it was.
But she always liked performing.
I thought it my duty to foster her talents.
When I consulted you you agreed.
Sometimes in life one has to go for it!
Besides, I like movies a lot.
The industry has a future.
Mr. Shimizu's late. - The shoot may have run late.
We might as well start ourselves. Everyone... sit down.
You sit there. - The saké isn't ready.
We'll start without it. That's uncle's place.
We've only three saké cups. - Teacups will do.
Give me that bowl.
My congratulations.
Please bear with us in the days to come.
Why are you sitting with your faces hanging out? Come on, you too.
Please don't, everyone. - No, no... it's quite right.
By the way, we should think of a stage name for her.
I'll always be Kinuyo Tanaka.
That's too plain.
Right. Names are important. You need a flowery one.
Ask a fortune teller for an auspicious...
Hold on!
Actually...
I asked Kinuyo to keep using her real name.
I've got it! It's because of Ryosuke.
He dodged his draft assessment... - Brother! Don't shout so loud.
What if the neighbors hear you?
I see. You were thinking about that.
All young men have to enlist when they turn 20.
After he got drafted, he didn't show for his physical.
Now he's got MPs, even police after him.
It's been nearly 10 years since Ryosuke disappeared.
I believe he's still alive somewhere.
If Kinuyo keeps her name and becomes famous...
that may prompt him to contact us.
That's why I asked her to keep her name.
He's an unfortunate boy.
The Tanaka family business went bankrupt...
not long after your father died.
Ryosuke as the eldest... shouldered the responsiblity.
It was a heavy burden for him.
It's because he was so desperate that he acted recklessly.
I know...
you've been left with the stigma.
I'm very sorry.
I plead with you here...
to forgive him for what he did.
I want you to hope that he contacts us.
Please.
That'll be Mr. Shimizu. - The director?
We've started already, sir. Please come in.
We're so honored to have you, sir.
Please share our humble table. - Excuse me, then.
Good morning.
ACTORS SECTION
KINUYO TANAKA
The going wage for a studio actress back then...
was about 10 to 15 yen a month.
But somehow I received 30 yen.
In 1926, that was a lot of money.
The schedule was posted late in the afternoon...
informing us who was or wasn't working the next day.
If your name wasn't posted... you had the day off.
But many went to the studio even if they had no work...
hoping to catch the eye of someone important.
To get a role, no matter how trivial...
was a cause of great excitement.
That girl... Did she get work today?
Hell no...
She practices making herself up every day.
Too darn diligent!
Hey! Sumiko Kurishima is going on set.
She's impressive, isn't she? - Sure is.
The glass stage got its name from its glass ceiling.
Natural light was used because electric lighting was poor.
It usually took four to five days...
to shoot a four-reel movie, which would run for an hour.
So the studio was a scene of constant bustle.
Still, everyone seemed to love the job...
and struggled hard with the unfamiliar equipment.
I've heard... that some of you are claiming... SHOWA ERA 2 (1927)
that Tanaka is getting roles because I favour her. SHOWA ERA 2 (1927)
Who's been saying that?
I suggested to the chief that she should be selected for this role.
I did it because she's devoted to her work.
You tend to get jealous when anyone else gets a role.
Reflect on your own attitudes before envying others.
Understood?
Tanaka...
Come to the studio.
Was that an appropriate thing for a director to say?
He started directing at 21.
The chief thinks very highly of him.
I heard he's from a rich family.
I don't know... He's famous for bluffing.
Like he bought a warship... - Can you buy warships?
It's moored off Shinagawa, I hear.
Stop it. Someone will tattle to him again.
It wasn't me. I never spoke to him about anything said here.
Then who did? - I don't know.
Mr. Shimizu sounds rough, but he's a kind man.
I've nurtured your acting career, haven't I?
The first leading role...
can determine one's future in acting.
Yet you never consulted me on such a grave decision.
What are you going to do? - Welcome.
Mrs. Tanaka...
Were you aware that Mr. Gosho had spoken to her about a role?
Well, yes...
An ashtray...
He visited us suddenly two nights ago...
I want...
to shoot "A Shameful Dream" with you in the leading role.
A leading role for me?
That's right. The role's made for you.
Well...
I'm sorry to call on you so late at night.
Not at all.
I'm well aware...
that since you came to Kyoto Shimizu has looked after you...
and given you small roles.
But...
I'm not like him.
Your talent has attracted me for some time now.
Mr. Gosho...
It's not up to me... - No...
If you agree, I'll talk to the chief.
I'm determined to get his consent.
With the chief's permission, I'd be delighted to do it.
I discovered your talent.
I don't want others interfering with your natural directness.
Don't you agree, Mrs. Tanaka?
Oh, yes... I'm grateful to you.
You not only take care of her...
but you made Haruji an assistant director
and Shozo an assistant cameraman.
Kinuyo would never go against your wishes.
Gosho's father had a wholesale dried foods shop in Kanda.
He went into films despite his parents' objections.
They've disowned him.
I believe... he even used to work without pay.
Without pay? He worked for nothing?
He's only one of many.
They receive food tickets
which they save and sell off to survive.
While living like that, he was already writing plays.
Mostly lyrical stuff.
He was made a director only last year.
I can't trust him with you yet.
The chief won't approve the plan.
He's a very bright man.
He went to the best schools and Tokyo Imperial University.
...the money for the timber for the sets.
Running a studio costs money. We can't stop shooting.
Theaters have cash. I begged them for a loan.
I foresee trouble.
The head office will object. - You apologize to them.
Chief... - What?
I hear you approved Gosho's "A Shameful Dream."
The Planning Department... - Listen.
We can't keep making stale, sentimental movies.
Cinema's a new form of entertainment.
As such, it needs to be cheerful and upbeat.
I came to cinema from kabuki...
only to find the same old ideas here too.
Cinema is young, so are we. There's no limit to what we can do.
In the Kamata style, of course...
Making dramas about the joys and sorrows
of ordinary people...
By making a story from actual life.
Gosho's new film is such a film.
The leading role will go to Kinuyo Tanaka, as he wants.
This too will surprise you, Planning Manager.
But her responsiveness has always interested me.
Her innocence and intimacy are unique and new.
The history of motion pictures as entertainment in Japan...
began with devices like the bioscope...
followed by pictures projected onto a screen.
The early films were actual recordings
of stage plays, geisha dancing or sumo wrestling.
NEWSREELS OF THE RUSSO-JAPANESE WAR . The newsreels of the Russo-Japanese War...
NEWSREELS OF THE RUSSO-JAPANESE WAR . created a great sensation.
From the late Meiji period...
plays began to be written for the cinema
SOULS ON THE ROAD (1921) . plays began to be written for the cinema
SOULS ON THE ROAD (1921) . This trend was encouraged...
by the economic boom following the First World War.
THE TEA-MAKING HOUSE (1924) by the economic boom following the First World War.
THE TEA-MAKING HOUSE (1924) . .
THE TEA-MAKING HOUSE (1924) . The conventions of the old theater
THE CAGED BIRD (1924) . gradually became more realistic
THE CAGED BIRD (1924) . .
THE CAGED BIRD (1924) as a new cinematic style was eagerly sought.
A PAGE OF MADNESS (1926) . .
Around this same time...
many good films were imported
BROKEN BLOSSOMS (1919) . many good films were imported...
BROKEN BLOSSOMS (1919) . from Europe and America.
Have you seen Griffith's "Broken Blossoms"?
His spirit of realism is a visual art in itself.
The technique of close-ups... I hear the American Griffith started that too.
THE SALVATION HUNTERS (1925) The technique of close-ups... I hear that started with Griffith too.
THE SALVATION HUNTERS (1925) . .
The flashbacks the French use are revolutionary.
I think the director's name was Volkov.
He tried it in "Kean." - Hey, Ozu...
I hear you're to be a director.
Army service held you back.
With its lucid realism and creative aesthetics...
and some undoubted masterpieces...
VARIETY (1925) . and some undoubted masterpieces...
VARIETY (1925) . .
VARIETY (1925) . the Western silent film...
had enormous influence on Japanese cinema.
Chaplin's "A Woman of Paris" - so good.
Chaplin a comic has made a social film.
That's right.
Doesn't "Sad Clown" show the true nature of film?
I haven't seen it.
That girl Setsu is always distant.
I hope she comes to visit the studio.
Where are we going, sir? - Never mind that, come on.
I saw Gosho's film. - How was it, sir?
I cowered at the back of the preview room.
You were very good. - Thank you, sir.
As for me... I was under no obligation to attend the launch party.
But I went to find out what they thought of you.
How could you behave so self-effacingly?
You were crawling to everyone...
And Gosho... you shook his hand again and again.
I won't give you up to anyone.
Sir...
I love you.
Welcome home.
You work a lot of nights lately. - Yes.
No one knows where she spends her nights.
Haruji, Shozo... off to the studio with you.
At least let us finish. - Hurry up then!
All this hard work, and at night too.
Don't lie. You stayed at Mr. Shimizu's, didn't you?
They say you're always there.
Half the studio's talking about it.
What's going on between you and Mr. Shimizu?
He wants to marry me.
What?
How absurd! But you don't want to, do you?
Actually I wouldn't mind.
Never! Never! Marriage is the end for an actress.
Uncle..! Uncle, please come here.
What is it? - Kinuyo says...
she's going to marry Mr. Shimizu.
Is that true?
We owe him a lot...
But that's unfair. He's the one made you what you are now.
Yet now... he himself would ruin it all.
Kinuyo...
Your tendency to get passionately involved in things...
is a fine quality.
But you started as an apprentice actress...
and have worked your way up to a senior level.
You have a future.
I'm determined to live to see you... become the top actress at Kamata.
No one will want to see someone's wife on screen.
An actress isn't mature
until she can express the full charm of a woman.
Your asset as an actress is your prettiness.
Prettiness isn't enough to make a star.
I want to be a complete woman. - Do you have to get married?
Who put such ideas into your head?
Was it Mr. Shimizu? - Yes.
Mr. Shimizu's kind but... everyone knows he's a womanizer.
Shozo heard it, too. - Please Kinuyo...
tell him you've come to your senses and tell him you won't.
We've made it this far.
I don't want to go back now.
Worrying about finding our next meal...
making envelopes, sewing on buttons...
taking in sewing...
I've had enough of that life.
I don't want to be poor!
Let me sleep.
Are you serious? - Yes.
We'll lose an actress.
Marriage will add lustre to her charm.
But if you're the husband...
We can't stop love affairs among young people...
but you're getting a reputation for it.
This time... I'm truly in love.
Kinuyo has a future. You're valuable too.
We need you both.
Right...
Wait two years.
Wait?
Now listen carefully...
You can continue while you're waiting... you can even live together.
Then isn't that the same as being husband and wife.
Not at all.
It's a secret, trial marriage.
If it works, you may marry. I'll even act as your go-between.
However...
don't forget that while Kinuyo is more or less your wife...
she's our actress.
Don't turn her into a housewife.
Any problem, sir? - No. Good work.
What is it? - Nothing. Good work.
SHOWA ERA 3 (1928)
Oh, no!
In a house he rented for us, my dual life started... as a novice actress at the studio...
and a very inexperienced wife at home.
I came to know the director Ushihara,
who had studied the new cinema in Hollywood,
and an athletic actor named Mr. Suzuki.
I was very fortunate to have met them.
We were both busy with work.
We never knew what time the other would be home.
At dawn we would reaffirm our love for each other.
I played a supporting role to Mr. Chojiro Hayashi...
in the film "Kaikokuki", which we shot at the Kyoto studio.
The excitement I expressed was not only acted.
It was in 1929...
that I first worked with the novice director Ozu.
The movie was called "I Graduated, But..."
I want a meal. - Hello, darling.
Let's order something in.
I eat catered food outside.
I'll get Mother or the girl to cook when they come.
Stupid..! I'm not a lodger here.
Darling... - What?
Weren't you at work today?
I don't have to report to you.
I see.
You know...
an actor's eyes are opened...
by working with good directors.
Mr. Ozu is such a director.
Mr. Gosho too can really get in touch with the actor's heart.
And what about me?
Your husband's a director, too.
When I find a director stimulating...
I respond to him with passion.
I see.
You see them as men... not as professional directors!
Is everything going well?
Yes...
well, that is...
I see.
That's all right then.
You're talking about Shimizu...
the rumour that he has a woman?
So you know.
I was a little worried, so...
Hey!
Get up! Your husband's home.
You're drunk, aren't you?
Ahh... that's right...
There was a party earlier to celebrate your promotion.
Right..!
Get up and dress nicely.
I want to congratulate you.
It's late, isn't it?
I said get dressed.
You should have just stayed at her place.
Who do you mean by "her"? - You know exactly who.
You hit me! - I did. So what of it?
Even my parents never dared...
You bastard!
I'll piss then! - Fine, go right ahead then.
Move!
So then... did you?
I most surely did.
Answering his slap by pissing in his room... That was pretty damn bold.
But Kinuyo...
You've become polished now a refined actor.
You're sexy too. You shouldn't resent him.
So now that's over... what will you do?
As long as I live... I'll never live with a man again.
You idiot!
I value your talent yet you cause so much trouble!
Kinuyo came to tell me she'd been selfish.
For my part, I have been too.
You're relieved, aren't you?
You're a bastard... - Chief...
Thank you. - For what?
Don't create any more trouble. The company can't afford it.
My life with Shimizu lasted a little over a year.
The chief told me a senior actress shouldn't be renting.
- TANAKA - . The chief told me a senior actress shouldn't be renting.
So I bought a two-storey house.
My uncle developed pneumonia... He died soon after.
He had always supported my unfortunate family.
He always believed that I'd become the top actress at Kamata.
If he had lived a little longer...
I could have given him a better life.
Samurai films dominated the cinema in the late 1920s.
This was partly a reflection of social conditions...
since the government suppressed free thought.
SERPENT / OROCHI (1925) . .
SERPENT / OROCHI (1925) . During this period...
many masterpieces were produced...
showing poor, nihilistic samurai rebelling against feudalism
A DIARY OF CHUJI'S TRAVELS (1927) showing poor, nihilistic samurai rebelling against feudalism...
A DIARY OF CHUJI'S TRAVELS (1927) or down-and-out gamblers as heroes.
Spectacular on-screen sword fights...
JOBLESS SAMURAI / RONIN-GAI (1928) . Spectacular on-screen sword fights...
JOBLESS SAMURAI / RONIN-GAI (1928) . had audiences cheering.
At the same time, a new contemporary genre emerged...
known as the "tendency film". (keiko-eiga)
A LIVING DOLL (1929) known as the "tendency film". (keiko-eiga)
A LIVING DOLL (1929) . .
Movie versions of novels...
ASHES (1929) . .
ASHES (1929) . were also created.
ASHES (1929) . .
WHAT MADE HER DO IT? (1930) . .
The talking movie. From silent to audio.
Western talkies were introduced in Japan.
UNDER THE ROOFS OF PARIS (1930) . Western talkies were introduced in Japan.
UNDER THE ROOFS OF PARIS (1930) . .
UNDER THE ROOFS OF PARIS (1930) . in 1929.
They were unpopular at first...
because the narrator's voice overlayed the original soundtrack.
The problem was solved...
by placing superimposed titles down the right side of the screen.
This was done for the first time in "Morocco".
But this also caused a social problem.
masses of narrators and musicians lost their jobs and were on the streets.
On top of this making talkies cost three times as much as silent films.
Thus their progress in Japan was slow.
But in 1931 Shochiku produced "Madam and Wife"
which became a classic as Japan's first talkie.
The principal actress was Kinuyo Tanaka.
SHOWA ERA 6 (1931)
Welcome.
This way, please.
In here, madam.
Hello. Please come on in.
Were you surprised to be called all this way?
Yes. What's the matter, sir?
I asked all our senior actors to come.
Denmei Suzuki has resigned.
I should say, he walked out...
taking our big stars Okada and Takada with him.
More correctly, they were headhunted by our new competitors.
It was to be expected.
The future of the cinema is now assured...
and popular actors are valuable assets.
Headhunting has become an accepted practice.
We have many stars in our company.
We must protect ourselves.
Tanaka...
I was just asking everyone how they felt about it.
What about you?
I'm deeply indebted to Shochiku.
No matter what they offer me, I would never leave.
Kinuyo Tanaka is a Shochiku actress.
Please rest assured, sir.
You're a modern woman yet you retain the old virtues.
Thank you.
The shrike's song echos in the Amagi Mountain Pass.
Beggars and itinerant players are not allowed to enter the village.
"The Dancing Girls of Izu" was made in 1933.
It was a silent film.
Since many films were already being made as talkies...
"Why are you walking so fast?" Since many films were already being made as talkies...
"Why are you walking so fast?" . .
"Why are you walking so fast?" . it seemed quite odd to me.
But Mr. Gosho believed, making it a silent film would better reveal...
its poetic beauty.
It was a beautiful film.
"When I told my sisters that I liked you, they made me pay the bill."
"I might go to Tokyo."
I tried to get inside the itinerant dancer.
She always carried a drum on her back...
so I carried mine throughout the shoot.
By the end of shooting, my shoulders were black and blue.
Come here, my girl.
What insolence... to say such things.
How dare you enter this house, anyway?
Have you apologized to Kinuyo?
You virtually eloped with a studio chief.
And on top of that...
now you want money to open a noodle shop. What a nerve!
Times are hard for us too. - So I've heard.
I heard...
that Haruji and Shozo have left the studio.
It's true. - Why?
The work just didn't suit them...
It wasn't that.
All I did was run around... I was just a stage rat.
And Shozo got sick of carrying heavy equipment.
I've had enough of being called the big star's lackey little brother.
Shozo!
What a loser! Others seem to manage alright.
Just look who's talking now?
You ran off and married without a thought for us.
Kinuyo isn't obliged to help you.
Please, Kinuyo. I'll repay you.
I promise, Please help me out.
I'll give it to you. - Kinuyo...
She's talking about a lot of money.
In return sister, I want you to stay away from my house.
Brother Shozo...
Brother Haruji. If you hate your jobs, leave them.
What will they do then? - Laze around here and do nothing.
I'll support you both. Sister... come get your money.
Thank you.
What's wrong with Mum? - You noticed?
Shozo told me.
She often puts her hand to her chest.
There's no need to worry.
I'm just a little tired.
Are you sure it isn't heart trouble?
I've been asking you to see a doctor. You really should.
The only time I ever went to a doctor...
was when my cheek swelled up because of an infected wisdom tooth. I'm fine.
But I'm starting to worry about you.
Why?
I heard you were seeing that cameraman...
the one who worked on "The Dancing Girls of Izu."
Yes, we worked together.
Wasn't director Gosho keen on you?
He made you look so lovely in "The Dancing Girls."
Didn't he?
Haven't you seen it? You're being awfully quiet.
I loved him, too. - Then why...
Never mind. - But I do mind.
What about that baseball player?
He jilted me. - Then who's the latest?
Changing men all the time... What are you thinking...?
It doesn't matter, Mother. - Why not?
It's just part of her job. All actresses do it.
There's nothing wrong with it. - What if someone proposes to her!
I told you... I'll never marry.
Why are you leading them on, then?
I'm not!
At the time I'm serious.
I understand less and less of what's going on in your head.
It makes me sad.
There's a man at the door.
It's my man. We arranged to meet here.
Who are you?
I'm Senkichi Nakama.
They sent me from the studio.
They said you'd take me on as your pupil.
Who said that? - Mr. Kobayashi and Mr. Himori.
They're senior actors, aren't they?
Weren't they just pulling your leg. - What?
They were teasing you.
When I started, they'd say the director wanted to see me...
so I'd rush off to find him.
They often amuse themselves at someone else's expense..
Why would they do that? - Why, indeed?
Perhaps they're bored.
But wouldn't it be odd for a man to study under an actress?
Well...
You're not from around here, are you?
I'm from Beppu, in Kyushu. I adore the cinema.
When I told my father I wanted to be an actor, he hit me.
But I persisted. I stole money from my father and came here.
I suspect he'll disown me now.
How do you feed yourself?
Sometimes I eat, sometimes I don't.
But I help with sets and work on location. I manage to survive.
I'm strong, and a good fighter.
Do you like the studio? - Yes.
I just love the atmosphere.
I'm determined to make my living in the cinema.
Well... Please excuse me. - Wait just a moment.
Why not work for me? - Kinuyo!
What could I do for an actress like you?
- bodyguard.
SHOWA ERA 11 (1936)
So we'll build a house and an annex...
on half an acre of land in Kamakura.
It'll be really fine.
From the garden we'll look over Enoshima and Sagami Bay.
We were all but driven out of our old home.
I still remember it like it were yesterday.
This is like a dream.
Kinuyo... thank you.
It's hard to imagine living in such a mansion...
The studio too has moved from run-down old Kamata.
The timing is just right. - Don't put down Kamata like that.
It was like a mother to me.
The day we left Kamata...
I couldn't hold back my tears.
The chief was in tears, too.
Senkichi!
You're late. It's dress rehearsal today.
We should have left for the studio.
Something happen? - Yes... I did it again.
You're black and blue.
He got into another fight!
That leak in the studio...
The carpenter didn't give a damn. He just neglected it and...
So you hit him. - Yes.
You hit him first, right? - Yes. That's my weakness.
You're Kinuyo's very important bodyguard, no?
We always have bandages and sticking plasters to patch you up.
Wait a minute...
Mother, you're so soft on Senkichi.
And you were opposed to him at first.
I'm grateful for your concern.
Ah... those are the plans for the Kamakura house.
It really will be Kinuyo Castle.
It's too big.
Not at all.
Miss Tanaka is now as senior as Sumiko Kurishima.
Mother!
Lay out the bed! Chiyo, Fusako... the bedding.
Haruji, the doctor! - Right.
Shozo...
Take her feet gently.
The cover.
Bring water. - Not until the doctor comes.
Be strong.
Please be strong.
I'm... finished.
Don't be silly.
Where does it hurt?
Poor Mother...
Kinuyo...
all the family...
take care of them... for me.
The only thing...
I regret leaving behind...
is Ryosuke...
who's been in hiding as a traitor.
I'm sure...
he's alive somewhere.
If he ever contacts you...
I know it's a burden...
You're the only one who can help him.
I'm counting on you.
Please...
Kinuyo...
thank you...
for... everything.
Mother!
The Great Depression came... and began to affect Japan.
It cast it's shadow everywhere and hastened militarization.
THEATER OF LIFE: YOUTH VERSION (1936) . .
THEATER OF LIFE: YOUTH VERSION (1936) . But during this period...
THEATER OF LIFE: YOUTH VERSION (1936) . .
THEATER OF LIFE: YOUTH VERSION (1936) . many challenging films appeared.
CAPRICIOUS YOUNG MAN (1936) . many challenging films appeared.
CAPRICIOUS YOUNG MAN (1936) . .
SISTERS OF THE GION (1936) . .
MANY PEOPLE (1937) . .
THE DAUGHTER OF THE SAMURAI (1937) . .
ENOKEN'S CHIKIRI KINTA PART 1 - MOMMA, THE HAT - THE NICE WAY (1937) .
It was also at this time...
that the Toho block emerged with new aims and methods...
very different from existing film-makers...
companies like Shochiku or Nikkatsu.
THE CONGRESS DANCES (1931) . .
THE CONGRESS DANCES (1931) . European films...
THE CONGRESS DANCES (1931) . .
THE CONGRESS DANCES (1931) . were still being imported.
But with the outbreak of the "China Incident" in 1937...
government agencies such as the Cinema Regulatory Office,
began to intervene and impose rigid controls
on the content and operation of the cinema.
Many men in the industry were conscripted...
including Yasujiro Ozu who directed "The Only Son".
Sadao Yamanaka directed "Human Heart, Paper Balloon"...
before he was sent to the front.
He fell ill and died in northern China.
He was 29 years old.
SHOWA ERA 13 (1938)
That cat's dirty. - It strayed in.
Is it raining? - No.
"Aizen Katsura" is a spectacular success.
My landlady saw it twice. Really, twice!
I feel proud, too. - It's good, isn't it?
Ken Uehara is very handsome...
but I was amazed how you played a widow with a child.
Don't say a "widow". - A bereaved wife, then.
Well...
Young stars like Takamine won't take such roles.
So it was fitting that I should take it on.
To be honest, the advance of younger actresses...
such as Takamine, Takasugi and Kuwano
had me quite worried.
But you've swept away my concern
and fully recovered your popularity.
You've truly been "through flowers and storms".
This is a katsura tree.
It's called... the Compassionate Buddha Tree.
The legend has it...
that if a couple touches this tree, vowing true love,
their love will blossom.
But you know, Sen-chan...
It really hit home.
If I was an athelete where a win or loss is clear,
if I kept losing, I could retire.
But in acting, winning and losing are never that clear.
So I can never retire.
It's awfully hard...
You're so single-minded about acting.
That's your strength.
You really shone in "Koto and Sasuke."
Really? Was I that good?
But the original novel by Jun'ichiro Tanizaki
was too difficult for me.
I'd just been made a Principal Actress.
I wanted to do well in it.
The role of Shunkin was perfect for you.
Proud, selfish, wanton...
What do you mean? - Mr. Shimizu cast you well.
Fool! One has to act as well. - Is that so?
But...
those were the last days. - Of what?
Of the age when actors and crew put everything into film-making.
Just look at the crews these days.
They're only concerned with themselves.
No one takes risks any longer.
The fun is gone.
You're no exception. - Why?
You've lost your passion. - Who hasn't?
Who indeed...
SHOWA ERA 15 (1940)
Excuse me.
I'm from Planning...
Isoya is my name. Thank you for coming so far.
I'm Mizouchi.
Kinuyo Tanaka, sir.
Welcome.
I'm at your service, sir.
THE FENCE BUILDER
It's so hot...
What do you think of all that?
About what?
Planning normally comes to meet us
but for a big director to do that...
It was surprising.
Maybe it's his custom. - Maybe.
I thought he'd talk about work but he didn't.
Excuse me.
The director sent me to deliver these to you.
The director? - I mean Mr. Mizouchi.
What books are they? - He wants you to read them.
I've already read the script for "The Woman of Osaka."
Have you? Excuse me then.
Just a minute...
When will I meet the director to discuss the shoot?
I wouldn't know.
May I ask your name? - Sakanashi, madam.
- What's your job? - I'm staff.
Excuse me.
What's all this?
Goodness! They're all on bunraku.
They're reference books. - Are they meant for me?
Will you read them? - Don't be silly.
I only read scripts.
Director, I'll do that. Please leave it there.
Let's have sukiyaki tonight.
I've prepared saké.
Do you like it hot even in summer?
Hot saké is best in summer.
Cold saké makes me depressingly drunk.
Don't you have to attend classes at the university?
It's all right, so long as I'm enrolled.
Your family's from a temple, aren't they?
Are you allowed to assist with directing?
Our sect believes in 'Sansen somoku shikkai jobutsu'.
We view anything we take on as spiritual training.
And I want to direct films.
Good afternoon. You've started already.
Well... please come in. - Thank you.
How do you like it here?
At least it's close to the studio.
Kurumazaki is staying here and being a great help.
It's too far to commute from my house...
anyway there's no one...
By the way, how is your wife's health?
She's been in hospital so long. It must be hard for you, no?
Miss Kinuyo came to the studio yesterday.
Why? - Why? She's worried, of course.
She's been here three days and still hasn't heard a single word from us.
She needs to know about her costume, her wigs...
She's never worked with you before.
Will you have some? - No, thank you.
Anyway, I was surprised at how politely she spoke.
I wonder...
if it's reflects how hard she's trying to become a star.
She's probably just feeling defensive.
Atsuko...? - I sent her shopping.
She's a bit old, but pleasant enough.
Will you keep your assistant this time, please?
Have you heard from the studio?
No. - It's more than a week now.
We still haven't made any arrangements.
I've memorized the script, there's nothing else to do.
Why don't you study those reference books?
Sen-chan...
All an actress needs to do is act her role...
according to the script and as the director directs.
She need do nothing else. - I've heard that many times.
Very well, then.
I came here expecting a fine film to work on.
But look at this...
A visitor for you.
A moment...
Who is it? - The director.
What?
Please...
Good morning, sir. - Good morning.
Did you come on your own?
Yes.
Miss Tanaka, have you seen any bunraku theatre?
Yes.
Are you making progress in your study of it?
Well... yes.
My new film is about the musical life of Danpei,
a shamisen master in the bunraku theatre...
I want to make it from a woman's point of view.
Yes.
Ochika, whom I play, falls in love with Danpei's music.
He is a widower with a child, and she steps in as his wife.
She gradually manages to convince herself
that only she can perfect his music.
So when they break up...
Miss Tanaka, please travel to Osaka tomorrow.
I'll come with you. We'll see a bunraku show.
We'll also interview the performers and musicians.
I'll let Isoya from Planning give you the details.
Goodbye. - Excuse me.
Welcome, sir.
I heard you were here so I came to greet you.
Going already? - It's been a long time.
Excuse me.
He hasn't changed at all.
Is there anything you need?
Please tell us if there is.
Madam...
Does the director come here often?
Yes... now and then. - Wasn't he born in Tokyo?
Has he lived in Kyoto long? - Well that's what I heard.
I think I heard him say...
that he likes the ambiance of Kyoto.
Please. - The ambiance... I see.
His depiction of women is said to be masterful.
He must have trained himself in that area here.
Well, I'm not sure...
I wouldn't know.
Excuse me.
Thank you.
It's interesting, Senkichi. - What is?
Kenji Mizouchi. - Him?
His speech is excessively polite.
A difficult director to work with...
But there's more to him than that.
I'll have to challenge him.
Good morning. I'm sorry I'm late.
Good morning. - This way, Miss Tanaka.
Hello. - Hello. We meet again.
Hello...
Let's get started.
Danpei's house: Entrance "As a matter of fact..."
Please begin reading.
Let's start, then.
The script.
As a matter of fact, Okuni's in trouble.
So I was wondering...
if you could lend me 50 yen in exchange for this.
Well, asking like this out of the blue...
Why does she need it? - Won't you lend it to her?
I can manage it if necessary.
Please call Mr. Yodo.
You want Mr. Yodo? - That's right.
Miss Tanaka, please begin.
What's the problem? I'll ask Okuni directly...
Please call Yodo.
Hatsuko! You saw that, didn't you?
He puts up a blackboard in the middle of the set...
and makes the cast read from it.
Then when it sounds awkward, wam-bam, he makes the assistant erase it.
Yes. Eventually the whole thing got erased.
Then he calls Mr. Yodo, the scriptwriter.
Mr. Yodo rushes to him.
He orders Mr. Yodo to change the lines to make them easier.
Mr. Yodo changes them. They're written on the board.
We say the new lines.
He doesn't like them and changes them again...
The director never once corrected a line himself.
Where's Sen? - He went out with the crew.
Has gone drinking again?
We didn't shoot a thing, not even one take.
How is it possible?
May I speak, madam?
You may. - Thank you.
Unless the actors are present and say the lines
he can't tell if they're natural...
Can't he tell that? It's all in the script.
But without hearing the actors speak...
he can't say if the lines are alive or dead...
I'm alive and well. - I know, madam.
What about me? I learnt all the lines in the script!
You frightened me! - I'm sorry.
Sen...
Will tomorrow going to be like today?
Oh yes. We've never seen anything like that, have we?
But he's a very interesting director.
At first he was calling for Mr. Yodo.
Then it was just Yodo.
In the end he was shouting "Call Yodo!"
But the whole crew is working so hard.
What's behind that power?
What's driving him?
No, I can't. - What?
I see. What a strong-willed woman you arel
Please leave me.
I'll talk to Okuni myself.
Miss Tanaka, please behave naturally.
Miss Tanaka, aren't you a little on edge?
Miss Tanaka, are you happy with that?
Miss Tanaka, it's not quite right.
Miss Tanaka, put some feeling into it.
Miss Tanaka, you're not acting naturally.
Miss Tanaka, are you thinking?
Miss Tanakal Some psychological insight.
Right.
Miss Tanakal Psychological insight.
Director!
Would you please tell me...
how d'you want me to act?
Unless you instruct me in specific terms...
I don't know what you want.
You're an actress, aren't you?
You get paid to act.
Then do your job.
I'm a director. I can't teach you to act.
You've been working hard. Please relax tonight.
Thank you.
They say Kyoto summers are so hot they melt people.
Must be hard to work, no?
It's awfully humid.
The director knows more about women than women themselves.
It's rather frightening.
What kind of things, madam?
It isn't easy to explain such things, is it?
Mr. Mizouchi once said...
it was wrong to see a geisha's make-up as deceitful.
He said it was as serious as a samurai's battle armour.
That impressed me.
He's directed many films. Some are excellent, some not.
Once, under the influence of Izumi's novels,
he fell into aestheticism and hit a slump.
I think he found himself with two films he made...
one about a poor woman ruined because of her father...
the other about two geisha sisters, men's playthings,
who live in a dark house in Gion.
That was a good film. - Depicting the plight of women, and how
they're exploited by men... it's his main theme.
He probably led a fast life when he was young.
Perhaps the proprietress can tell us about it.
Well, I don't know.
You've know him a long time, haven't you?
Well... sort of...
It seems he used to be a very heavy drinker.
I heard he once drank so much he urinated in the alcove.
He's said to have a scar on his back...
made by a woman with a razor blade.
What's the story? - No one's seen the scar.
But I hear he often says
to depict women one has to have been wounded by them.
This is a record of the shoot.
I'll leave it here.
Tell me...
What's your opinion of Kinuyo Tanaka as an actress?
I like her.
She's quite unique, you know.
There are other fine actresses.
Some have good feminine qualities,
others display an irresistible sensuality...
and some act with calculated precision.
But Kinuyo is different.
She's passionate.
She reminds me of an animal.
Don't you agree? - I don't know.
When she responds to me I can sense her force...
like a wild, unihibited energy...
a feral passion.
She makes me flinch.
Is she the first actress to make you feel that way?
Soba noodles refresh the palate after saké.
I'm off now, sir.
I'm going out now too.
Good night.
Who is it?
Mizouchi.
Welcome back.
It's been a hard night, Miss.
Call Sen.
I came back early to get a bath ready.
Will you have it now?
You saw him last night. What do you think?
He was worse than ever. It was murder.
That's true. - Don't get killed.
No way. I'll do the killing.
It sounds like a duel. - I won't let him intimidate me.
It seems the whole crew is taking an interest...
in you and the director.
How so?
Excuse me.
Sir's working you very hard, no?
Have some of this and get a good sleep.
The studio is like a sauna.
Miss Tanaka...
You're a very strong-willed woman.
She's up against that mule. - He's a good man.
Excuse me for asking...
but how many wives has Mr. Mizouchi had?
The present wife is the only official one.
So... the story of the scar on his back is false, then.
It's true.
He has a scar the size of a willow leaf.
Have you seen it? - Yes.
Where? - In the bath.
Then who was the woman? - She was a prostitute.
The incident occurred...
when they were arguing about separating.
Apparently, after the woman was released by the police,
he followed her all the way to Tokyo.
He's a naive man.
Does he have any children? - No, he doesn't.
Madam...
You said you knew nothing, but that's not quite true.
Goodness, have I talked so much about him?
She has such an innocent look on her face.
Isn't the water cold? - It feels good.
We've finished shooting.
Yes.
I'm amazed you went the distance.
This is the first time I've talked to you...
outside of work.
Thank you for your work. - Thank you very much.
I had believed that acting was my whole life...
and that everything else was merely a play.
It was then that I realized I'd been wrong.
The stern contours of his face...
would not leave my mind.
Hello.
SHOWA ERA 26 (1951)
It's been a long time. - I'm glad you've come.
I'm obliged to you.
It's all right. - I can still carry a bag.
My bag's surprisingly heavy, sir.
I'm so happy...
that you accepted this job so readily.
Well, I received a call from your producer Mr. Komai...
asking if I was free.
I said yes. He said he was from the Mizouchi team...
so I accepted at once.
While I was standing holding the receiver, I realized I was bowing unconsciously.
I see. - So what's the film about?
What?
You came all this way without knowing that?
Yes. What's the title of the film?
I see then...
Anyway, please come in.
We're using the storeroom as a production office.
And we won't be filming at the studio either.
We're using a renovated army warehouse.
It's in Hirakata, a town between Osaka and Kyoto.
Actually, I still haven't seen it myself.
THE LIFE OF OHARU
The original novel is "A Wanton Woman" by Saikaku.
The name of the heroine is Oharu.
She goes to the court... - Excuse me.
This is our producer, Mr. Komai.
How do you do. I'm Kinuyo Tanaka.
I'm Komai. We spoke on the phone.
It's been a long time. - Well..!
The director asked me to help with the film.
I'm at your service.
This film was rejected by several film companies,
but Mr. Komai managed to raise the funds...
to make it all possible.
No. It was your persistence that won in the end.
I look forward to working with you.
Director, we're off to see about the studio.
It's been eleven years since we did "The Woman of Osaka."
But we've worked together in other of films since then.
But "The Woman of Osaka" was our first together.
That's what I meant. - Of course you're right about that.
Soon after that, the Pacific War broke out.
I didn't think we'd win...
but I didn't think we'd be crushed, either.
When I heard the Emperor announce Japan's surrender...
I immediately rang the studio at Ofuna...
to ask when filming would begin.
The general manager came on...
he said I wouldn't believe it... weeds and cobwebs everywhere.
He said he was alone... everyone had gone off to war.
He sounded quite pathetic.
Oh... I haven't seen the proprietress. Is she well?
She'll come to greet you.
This place hasn't changed. It's exactly as it was.
Isn't Senkichi Nakama with you?
No. I was keen to get here as soon as I could.
He's following with the luggage. He'll probably arrive tomorrow.
I heard he had been opposed to you accepting the part...
when I made "The Victory of Women."
He said I couldn't play a woman lawyer.
What did you think yourself? Were you reluctant to do it?
Of course not.
An actress need only give herself completely to any role.
But it seems...
it wasn't right for you after all.
I didn't do well enough. I'm sorry.
That's not what I'm saying.
The film was criticized as old-fashioned.
As the film's director, I'm responsible.
We had to shoot it under American censorship.
and it became nothing more than a cheap celebration of democracy.
Even though I was well aware, I still agreed to it.
I was convinced I could do something fresh after the war.
But I failed.
I also asked you to play in my next film, "My Love Burns"...
which also failed.
I wasn't experienced enough...
to play an activist in the Democracy Movement.
It wasn't that. I was too impatient.
I couldn't adapt quickly enough to keep up with the times...
like the younger people did.
It's been hard for me, too.
But I had to keep working to get out of the slump.
I had to work as hard as I could, too.
I'd lost my confidence.
For an actress, age is critical to her career.
It takes a long time to build confidence...
but no time to lose it.
Before I knew it, I was being passed over for major roles.
We live in a cruel world.
Remember the time...
when the media described you as 'old and ugly'?
I felt like throwing myself off the nearest cliff.
I felt as if it was directed at me.
I knew I had to do something about it.
I was desperate.
We've strayed into strange areas, eh.
Yes.
I wonder how we got on to this.
We started off talking about "The Life of Oharu."
That's right.
Miss Tanaka...
this time will be different.
I've had to struggle...
but now I've found a film that suits my temperament.
That's why I wanted you in it.
Let's make it together.
Thank you very much.
Of course...
no one's life was easy in those difficult times.
MORNING FOR THE OSONE FAMILY (1946) . .
The postwar period began
NO REGRETS FOR OUR YOUTH (1946) . The postwar period began...
NO REGRETS FOR OUR YOUTH (1946) . .
NO REGRETS FOR OUR YOUTH (1946) . amid devastation and confusion.
WAR AND PEACE (1947) . .
WAR AND PEACE (1947) . For Japanese cinema too...
WAR AND PEACE (1947) . .
WAR AND PEACE (1947) . it was a turbulent time.
During the process...
BALL AT THE ANJO HOUSE (1947) . During the process...
BALL AT THE ANJO HOUSE (1947) . .
BALL AT THE ANJO HOUSE (1947) . a group of film-makers emerged...
with new perceptions and ideas.
BLUE MOUNTAIN RANGE (1949) . .
STRAY DOG (1949) . .
UNTIL WE MEET AGAIN (1950) . .
Foreign films reappeared.
PAISAN (1946) . Foreign films reappeared.
PAISAN (1946) . .
PAISAN (1946) . Works by Italian realists...
were highly praised...
for overturning the established conventions
BICYCLE THIEVES (1948) . and breaking new ground.
The cinema seemed destined to be a multi-media experience...
combining sound and colour.
In 1951 the first Japanese colour movie was made...
using film developed by the Fuji Film Company.
Keisuke Kinoshita successfully directed...
"Carmen Comes Home" in colour for Shochiku.
Then Akira Kurosawa's "Rashomon" won the Grand Prix...
at the Venice Film Festival.
It was the first Japanese film to win such acclaim...
before an international audience.
This was also in 1951.
It's already six years since the war ended...
yet you see its after-effects everywhere.
This used to be an army warehouse.
Long after the war it was still full of military supplies.
Only recently, the police stopped illegal trading in them.
They were reluctant to give us the lease.
Thanks to Mr. Komai's hard work, we can now build the set.
Thank you very much. - Not at all. It's my job!
What's that?
That sound...
The noise I hear.
That's the train that runs between Kyoto and Osaka.
I know that.
I'm asking you how we're going to record.
What about synchronizing our recording?
Can't we record when the trains aren't running?
And adjust our shoots to the train timetable?
We can't... - You can't expect me to... I can't.
The director hasn't changed at all.
What do you mean?
Didn't he say it would be different?
But all he says is "Please keep studying."
We start shooting soon yet we've heard nothing.
You've memorized the whole script and now have nothing to do.
No need for you to grumble.
Hello, madam.
It's a little chilly tonight.
Last time you came in the summer, this time it's winter.
Both seasons have their difficulties, no?
Just sitting and waiting makes it all the harder.
Mr. Mizouchi seems to be having trouble...
getting everything ready this time.
I heard he lost his wife.
So you heard?
Yes... it's probably just over a year now.
It was a sad illness.
A kind of mental illness they say.
Well, yes...
And because of that
there was a time when he blamed himself...
for not being able to help her.
How often do the damn trains go by?
I know you can't be interrupted by them. Right?
That's right! I can't work always stopping and starting.
I'm sorry. I'll think of something.
What good's your thinking going to do.
Sir, please sleep here. - I'm going home.
But they made it ready for you. Please stay.
I'm not that drunk.
But it really is very late.
May I take your jacket?
Good evening, gentlemen.
The director will sleep here.
I never said that I'd stay.
Director...
Please stay the night. We won't eat you.
I'm... going home.
Director!
Director... - Director.
Why did you let him go like that? - We can't exactly force him to stay.
- Let's have a drink, Senkichi. - Damn frustrating...
He's a very stubborn man.
He exudes confidence, but he hasn't changed... not a bit.
That's what I said the other day.
"Are you studying?" That's all he ever says.
Why don't you tell him what you really think?
Some of them are even saying...
that working with you won't get him out of his slump.
Who says? - People.
Would you like a woman? - Not till after saké.
But you're pretty drunk already.
I have a nice, young girl, who's new here.
You're a difficult man to find a girl for.
You played around too much when you were young.
Shall I call her? What would you like?
Just saké will do tonight.
You'll catch a cold dozing off like that.
Don't you feel anything, sleeping next to her like that?
Don't you get aroused by the woman in her?
She probably doesn't even notice that I'm a man.
You're a strange pair, aren't you?
MIZOUCHI
Seiko...
What time did I stumble in last night?
The sky was just getting light in the east.
Did I make much fuss?
This is no good.
As your uncle, I should be taking care of you.
Instead, you're the one taking care of me.
Breakfast's ready... will you eat now?
You off to work?
Yes.
An early start, eh? - Today's my father's death anniversary.
So I'll visit his grave on my way to work.
I see.
Would you offer a prayer on your uncle's behalf, too?
Uncle... you blame yourself too much.
What?
You feel responsible for Aunty's death.
So you decided to take care of me, her brother's daughter.
That's not true.
Your father went to war as an army photographer...
and was killed in action.
I'm only doing my civic duty.
We'll leave it at that. Aren't you off to work soon, uncle?
Please come home as often as you can.
Why?
Uncle... you're afraid that your sterness at work...
might be weakened by the warmth of a family life.
But I think you're wrong. Isn't it just the opposite?
Anyway, I'll stop before I get scolded by the stern director.
Oh well... I'm off then.
The heroine Oharu is serving at the lmperial court.
She has an affair with a humble samurai.
They execute the samurai and banish her from court.
A lord then takes her as his mistress to bear him a child.
She's sent away after giving birth.
Her parents then send her to Shimabara to sell her to a brothel...
but she's purchased as a servant by a merchant.
However, in a fit of jealousy his wife drives her out.
Oharu grows old.
Hiding her age under heavy make-up,
she stands in the street calling out to passing men...
reduced to a cheap prostitute.
We'll begin shooting the scene at the pilgrim's inn.
An old man guiding the pilgrims...
calls in the fallen woman to show them how ugly she is.
He warns them of the perils of persuing carnal desire.
So then...
she's trapped in the old values.
She's a puppet of fate...
it forces her to fall lower and lower. Bound by the old values...
she simply accepts her fate.
I want to push the limit in depicting this woman.
Understand...? a woman of the old values.
Director...
You've told me that many times.
I'll repeat it many times.
Director...
Please give up the old method...
Please try a new approach.
You think so?
Am I trapped in the old values?
Please, sir.
How impudent!
She's a mere actress.
I'm the director. How dare she criticize me!
It was rude... Unforgivable.
She'll have to go.
But shooting starts in two days.
I'm very sorry, sir.
You're not the one to apologize.
That's mine.
I knew it...
he got angry.
Did you really tell him?
Director...
The replacement... who would you like?
We're short on time.
Who can do it? - No one but Kinuyo can do it.
It was bold of Miss Kinuyo to say that to him.
The Director... Mr. Mizouchi's here, Miss!
I'm sorry to come so late. - No...
What you said... - I'm sorry.
I didn't understand you... - I've thought about it.
I was wrong. - Please do it your way.
You shouldn't change your approach for me, sir.
My family life has been very unsettled.
I felt it was the fate of a professional man,
but my niece lectured me the other day.
Please sir, do whatever you like with me in the film.
However I'm filmed... however I appear...
For my part... I'm afraid of nothing any more.
I'll stay tonight.
Mr. Mizouchi gambled everything on this film.
I would follow him to the end.
I'm ready. - At your service.
When the film was finished...
Mr. Mizouchi and I went our separate ways.
That was as it should be.
Miss Tanaka will come in from that side.
You lead Oharu into the room.
Let's rehearse it.
Action!
I have travelled blindly down life's path.
Experience was the only guide I learned to follow.
Of all the things that I have desired...
I wonder if anything has ever come true.
I suspect... I shall never know the answer.
Let's do it.
I only know...
that for the first time...
I feel I'm a woman, rather than an actress.
Stand by!
Please come this way.
Oh, it's so cold.
Please sit there?
Do you want me to sing? - No, don't worry about that.
Now, all of you...
Take a close look at her...
Look well.
Do you still feel like playing with women?
You're on a pilgrimage to the thirty-three temples...
in search of salvation.
If you want to learn
about the emptiness of all worldly acts...
you should follow the path of this old hag.
There... that's all.
Nothing more.
Take it and go.
Well, don't forget when you go back home...
to tell them you've spoken with an old hag.
Excuse me.
THE END