All language subtitles for Eiga joyû 映画女優 Actress (1987) V.O.S.English

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 sak� cups?
- I don't know.

TAISHO ERA 15
(1926)

Have another look.
TAISHO ERA 15
(1926)

Where are they?
TAISHO ERA 15
(1926)

TAISHO ERA 15
(1926)

Leave the sliding doors.

We may as well
take them too.

My God it's hot!

Only three sak� 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 sak� isn't ready.

We'll start without it.
That's uncle's place.

We've only three sak� 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)

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.

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 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.

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...

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.

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.

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!

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.

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.

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 sak�.

Do you like it hot
even in summer?

Hot sak� is best in summer.

Cold sak� 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 sak�.

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.

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.

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...

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 sak�.

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 sak� 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