.1

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CINEMA YEAR BOOK

OF

JAPAN 1938

EDITED BY

THE INTERNATIONAL CINEMA ASSOCIATION OF JAPAN

PUBLISHED BY

KQKUSAI BUNKA SHINKOKAI

The Society for International Cultural Relations

TOKYO, JAPAN

PRINTED IN JAPAN, 1938

PREFACE

The vigorous culture of Japan is rooted in the traditions of more than twenty-five centuries.
Through many years Japan has been looked upon with admiration as a land of dreams and imagination
by only a limited number of interested people. Still less is the number of those who know the real
Japan in which old tradition is harmoniously blended with the civilization of the new age. Herein
lies the necessity to introduce to the world the true features of present-day Japan.

The cultural activities of our country have witnessed a remarkable advance in recent years in
every field of spiritual civilization, whether liberal arts or fine arts. Cinematography , too, has kept
abreast with this general cultural advancement. The motion-picture industry of our country which,
only a few years ago, met barely ivith the needs within the country, has begun to send forth its pro-
ductions to the international market, the realization of an ideal cherished for many years. The Japanese
film production to-day is steadily equipping itself ivith the ultimate aim of participating in the stage
of international cinema activities. As already mentioned in the Cinema Year Book of last year, it
will not be long before the Japanese films will play a significant role in the world market. And
through the films, we believe, the civilizations of the East and the West will be brought into closer touch,
making possible more cordial relations between them.

We must inform the reader that the International Cinema Association was dissolved on the
thirtieth of April, this year, and this Year Book will naturally be the last issue to be published under
the auspices of the Association. Although we are not in a position to predict whether the Year Book
will continue to be edited in the future, we sincerely hope that its publication ivill be included among the
activities of the Kokusai Bunka Shinkokai (The Society for International Cultural Relations) , one of the
most authoritative cultural organizations of our country.

We tvish to lake this opportunity of expressing our heartfelt thanks to the three film critics,
Mr. Tadasi Iizima, Mr. Akira Iwasaki and Mr. Kisao Uchida, who have helped us in many ways in
the editing of this book.

KOKUSAI E1GA KY0KA1

{The International Cinema Association of Japan)

Contents

Illustrations i

Movie stars, Movie theatres, Studios

The Japanese Cinema in 1937 14

The Best Pictures by K. Uchida , A. Iwasaki and T. Iizima 20

Kaze No Naka No Kodomo, Kojo No Tsuki, Hana-kago No Uta, Asakusa
No Hi, Sobo, Tabiji, Atarashiki Tsuchi, Hadaka No Machi, Shinsen Gumi,
Shinjitsu Ichiro, Shukujo Wa Nani O Wasuretaka, Osaka Natsu No Jin, Ai-
Fn-Kyo, Wakai Hito, and Kagiri Naki Zenshin.

Cultural Films by Takao Itagaki 44

News-films by Yoshio Kaneko 47

Motion-picture Production in Korea by Tsuneya Ota 49

Foreign Films in Japan: Achievements and Effects by Kisao Uchida 51

Impression of Japanese Pictures by Robert Florey 55

Motion-picture Chronology 1937 58

Motion-picture Enterprises in Japan 61

Cultural Films 63

Production of News-reels 64

Japanese Films produced in 1937 65

Criticism on Pictures of Japanese Made in Foreign Countries 66

Importation and Distribution ol Foreign Films 66

Best Ten 67

Principal Periodicals Related to Cinema 68

List of Associations 68

Motion-picture Enterprises of Governmental and Associated Bodies 69

Ranking Actors and Actresses 70

SANAE TAKASUG1 — SHOCHIKU, OFUNA

1

MOVIE STARS

KINUYO TANAKA — SHOCHIKU, OFUNA

2

KEN UEHARA — SHOCHIKU, OFUNA

MICHIKO KUWANO— Sh6cHIKU, OFUNA

MIEKO TAKAMINE— SHOCHIKU, OFUNA

SHUJ I SANO — SHOCHIKU, OFUNA

3

SETSUKO HARA— TOHO, TOKYO

CHIYEKO MUKATA — NIKKATSU, TOKYO

4

YUKIKO TODOROKI— NIKKATSU, TOKYO

CHIYEKO TAKEHISA — TOIIO, TOKYO

MASAKO TSUTSUMI — TOHO. TOKYO

HARUYO ICHIKAWA— NIKKATSU, TOKYO

5

TAKAKO IRIE — TOHO, TOKYO

6

CHIKAKO HOSOKAWA— TOIIO. TOKYO

KAN ’EM O N N AK A MUR A— Z ENSHI N-Z A

CHOJURO KAWARASAKI— ZENSHIN-ZA
YURIKO HANABUSA — TOHO, TOKYO

ISAMU KOSUGI — NIKKATSU, TOKYO

DENJIRO OKOCHI— TOHO, TOKYO

CH1YEZO KATAOKA— NIKKATSU, KYOTO

KAZUO HASEGAWA — TOHO, TOKYO

TSUMASABURO BANDO— NIKKATSU, KYOTO

9

CH1SHU RYU— SHOCHIKU. OF UN A

TATSUO SAITO— SHOCHIKU, OFUNA

SHIN SABUR1— SHOCHIKU, OFUNA

10

CHOKO 1 IDA — SHOCHIKU, OFUNA

M1TSUKO YOSHIKAWA— SHOCHIKU, OFUNA

FUMIKO YAMAJ 1 — SH1NKO, TOKYO

RE1KICHI KAWAMURA— SHOCHIKU, OFUNA

11

WOm*.

HIBIYA GEKIJO
TOKYO.

SEATING CAPACITY 1.730., KOJIMACHI-KU

12

STUDIOS

SHOCH1KU OFUNA STUDIO

TO HO TOKYO STUDIO

TOHO TOKYO STUDIO

Photos: M. Matsumoto

13

The Japanese Cinema in 19.17

Akira Iwasaki

I. INTRODUCTION

In the cinema world of Japan, 1937 is significant for two developments of vital importance. One is the
tendency, continued from the previous year but more marked in 1937, towards the alignment into trust groups
of the motion -picture industry, motivated by the keen competition of Shochiku and Toho. The other is the
effect of war-time conditions on the screen since the outbreak of the Sino-Japanese conflict in August.
Practically all individual events in cinema circles may be attributed more or less to these two developments.

[I. TUP: BIRTH OF TWO POWERFUL TRUSTS

As has already been stated in “An Outline History of the Japanese Cinema” (cf. Cinema Year Book of
Japan, 1936 — 1937), by the end of 1936 the motion-picture industry of Japan grew into a competition ground
for the two trusts of Shochiku and Toho. The competition grew keener and more serious with the new
year, and since April, J937, their relations have been almost those of a declared war, each doing its utmost to
expand its influence at the expense of its competitor. P'inally they both employed a most unreasonable and unfair
means of robbing each other of their stars, which, resulting in a few public scandals, disgusted all thinking people.

The rivalry of these two powerful groups, each seeking monopoly and domination of the cinema industry,
naturally obliterates neutral minor forces that exist between the two influences. The smaller companies and
productions that had kept their none too substantial independence by joining forces with one and sometime^
the other of the two captains, were thus left with the alternatives cither of disbanding their organization or
submerging themselves into one or the other trust in order to maintain their existence even at the cost of their
identities. To be more specific, the Nikkatsu was, as far as its capital was concerned, placed unmistakably
under the control of the Shochiku ; a number of small, second-rate productions such as the Daito Eiga (Daito
Motion Picture Co., Ltd.), Kyokuto Eiga (Kyokuto Motion Picture Co., Ltd.) and Zensho Eiga (Zensho Motion
Picture Co., Ltd.) joined the group of satellites in the sphere of Shochiku influence. Furthermore, the Shochiku
concern itself was reorganized : the Shochiku Kinema Kabushiki Kaisha (Shochiku Kinema Co., Ltd.), con-
cerned with the production of films, and the Shochiku Kogyo Kabushiki Kaisha (Shochiku Kogyo Co., Ltd.},
interested in theatrical enterprises, were combined into a new Shochiku Kabushiki Kaisha (Shochiku Co., Ltd.}.
In this way, the huge structure of the Shochiku trust was accomplished during the past one year. It is known
as “ Six Company Combine”, being an amalgamation of the five companies already mentioned and the Shinko
Kinema which had been under Shochiku protectorate for some time.

The Toho, on the other hand, has not been less busy in fortifying its strength. In the spring of 1937 it
succeeded in annexing to its system a few smaller productions, taking over their entire management, such as
the Tokyo Ilassei (Tokyo Sound Production), Imai Eiga (Imai Motion Picture Production), etc. Later in
October, it effected the complete disorganization of the P.C.L. and J.O. Studio, two producing companies which
had been component, but independent, units in the Toho trust. By incorporating these, a great system was
successfully achieved : the new Toho Buga Kabushiki Kaisha (Toho P'ilm Co., Ltd.) was born, a thoroughgoing
trust in reality as well as in name. As a natural consequence of this trend towards trust-formation, small
independent productions which had thrived on the popularity of their representative actors and actresses were
completely wiped out. The Irie Production, Takata Production, Utaemon Production, Chiyezo Production, etc.,
were absorbed by the two gigantic organizations.

14

In this fashion, the rivalry of the Shochiku and the Toho reached its climax in 1937, having become the
greatest determining factor in the future procedures of the Japanese film industry.

III. THE SINO-JAPANESE CONFLICT AND THE SCREEN

The Sino-Japanese Conflict which broke out in August, 1937, ar*d is still going on has brought about
radical changes in every phase of Japanese life and thought: government, economic life and cultural expres-
sions, etc. The screen is no exception : it has tried, in its way, to adapt itself to the present critical times.

As soon as the Conflict broke out, newspaper companies and news agents dispatched dozens of st iff camera-
men to China. There has been a keen competition among the companies for the speediest public show of the
pictures of war scenes. Scenes of severe engagements, carnage of war, field-hospitals, wounded soldiers — these
pictures of sordid reality have left a deep impressen upon the minds of the people. News-reels were sought
after more eagerly than newspaper reports and wireless announcements ; with the eyes and the ears of the
population thus tensely stimulated, the news-reel stood at the height of its popularity. At the same time
producers all seized the opportunity of preparing dramatic films with the current warfare as the theme. Among
many such productions, one might mention Hokushi no Soi'a o Tsukn (Piloting in North China Skies, P.C.L.Y
Shingun no Uta (A March Song, Shochiku}, Jugo no Sekisei (Devotion on the Home P'ront, Nikkatsu} and
Kaigun Bakugeki-tai (Naval Air Corps, Shinko}. These, however, being no more than cheap sensational films
of poor quality, with hardly any artistic value, they failed to arouse any lasting reaction and sympathy in the
audience. In their realism, too, they fell far short of news-films, simple, unartificial and true to facts. Thus
they turned out to be box-office disappointments as well. Of course, we must admit in all fairness that some
film artists did entertain a sincere ambition to make realistic pictures of the war. A good example of consci-
entious production is Gonin no Sekko-hei (The P'ive Scouts, Nikkatsu} produced toward the end of 1937 (released
in January, 1938}, a few months after the outbreak of the Conflict. Tomotaka Tasaka, the director, has won for
himself a high reputation for the successful work in this Gonin no Sekko-hei , which deals with a day in the life
of a Japanese infantry detachment, presented naturally and realistically, though with bits of sentimentalism here
and there, but without the usual exaggerated gestures and expressions of heroism. It is by no means a master-
piece as a war picture, but it is true that it is the best of its kind ever produced in the history of the Japanese
cinema.

The Sino-Japanese Conflict has had another effect upon the activities of the Japanese motion-picture industry
in that some of the most able artists have been called to arms. The most outstanding are Yasujiro Ozu (Sho-
chiku} and Sadao Yamanaka (Toho}, both prominent directors, who have been in active service on the Shang-
hai front for the past half-year or so. Owing to their absence, the Japanese screen has missed several good
films which one would have expected of them in ordinary times.

A third important upshot of the Conflict is the import embargo on foreign films, a measure taken in view
of the necessity of foreign-exchange control by the Department of Finance in conformity with the war-time
economic system. Since September, 1937, doors have been closed virtually against the incoming of foreign
films, except news-reels. As the progress of the Japanese motion-picture during the past thirty years has
depended largely on the lessons and inspiration as well as competition of American and European films, it is
very unfortunate that this constructive rivalry should have been so suddenly terminated. It is the sincere hope
of all interested people that the necessity for continuing the present situation will soon pass.

IV. ARTISTS AND WORKS

The two significant developments of 1937, the marked trend towards trust-formation and the Sino-Japanese
Conflict, were generally believed to be far from conducive to the production of good motion-pictures. There
was felt, in addition, a fear that the quality of productions would be lowered in some degree during 1937. As
a matter of fact, however, the Japanese cinema was able to maintain its previous standard, despite these un-
favourable circumstances. The explanation for this must be sought in the growing demand, on the part of
theatre-goers, for artistic productions, and also in the increasing aesthetic quality of cinema artists, that is,

15

NUMBER OF FILMS PRODUCED IN JAPAN

^93^

^935^

^936^

©

TALKIE

SOUND

SILENT

TALKIE

SOUND

SILENT

TALKIE

SOUND

SILENT

TALKIE

SOUND

SILENT

61

40

298

133

133

178

300

121

137

365

50

159

scenario-writers and
directors.

It is a matter for
congratulation, indeed,
that art and business
seem to have found each
other more compatible
during 1937. Contrary to
generalizations previous-
ly accepted, there has
been a marked tendency
for artistically successful
films to prove at the
same time commercially
successful. Not at such
a great speed as one
might wish ; neverthe-
less, as 1937 shows, the
tendency is growing un-
mistakably and rapidly
in the right direction.

As notable exam •
pies of the artistic har-
vest of 1937 we shall

mention below a few productions. Their common forte is, in short, the persistent search for realism.

hirst comes Sobo (Ihese People, Nikkatsu, released in February). It is adapted from a novel by a young
author, latsuzo Ishikawa, scenario by Bunjin Kurata, and directed by Ilisatora Kumagai. In the course of its
filming, the camera was actually carried into the midst of an asylum for emigrants to Brazil. The story is
about a group of poverty-stricken peasants who are forced to leave their hemes for a distant foreign land.
While depicting the mass life of an emigration asylum, the picture portrays individual types in a very vivid
manner, making a strong appeal to the spectator by its unusual theme anti its sturdy realism.

Similar observations may be made on Hadaka no A/achi (The Naked Street, Nikkatsu, released in May)
and Ai-en Kyd ( 1 he Valley of Love and Sorrow, Shinko, released in July). The former is based on a play
by Yutaka Mafune, young playwright, scenario by Yasutaro Yagi, and directed by Tcmu Uchida, the director
of a 1936 hit, Jinsei Gekijo ( I he theatre of Life). It deals with the fate of the petite bourgeoisie who,
pieyed upon by usurers, go the unescap. ble way of destitution and hopelessness. And their life is
observed closely from strictly economic and materialistic angles. The latter is an adaptation of a story by a
popular novelist, Matsutaro Kawaguchi. Consequently, in the plot and in its general effect, it is not free from
unnatural sentimentalism and melodramatic expediency. Such shortcomings, however, are more than made up
for by the skill of the scenario-writer, Yoshikata Ycda, and director, Kenjj Mizoguchi, who show no hesitancy
in exposing true slices of hard and unbearable life while dealing, within the given frame of the story,
with the character and psychology of the dramatis personae and the life of the lower classes.

Another equally meritorious work of realism is Kagiri-naki Zenshin (Forward Forever, Nikkatsu, released in
November), story by Yasujiro Ozu, scenario by Yasutaro Yagi, and directed by Tomu Uchida. It is a picture
of the tragic life of the poor, needy, glo< my and hopeless, with which the original writer, Yasujiro Ozu, in
his capacity as a Shochiku director, has long been familiar. One of the characters, an old salary man, goes
insane from the mere anticipation and fear of losing his petty job on the ground of his old age.

I he sufferings of the same sort of life are treated from a different point of view in Kaze 710 nakci no

16

Kodonio (Children in the Wind, Shochiku), directed by Hiroshi Shimizu. It is a cinematization of a serial
newspaper story by the novelist Joji Tsubota, who lias an extraordinary talent for depicting children’s life and
psychology. An unfortunate anecdote that happens in a poor but peaceful family in the country is told as re-
flected through the eyes of the little children of the family, with a wealth of untainted juvenile sentiments
beautifully described.

As would be clear from the foregoing, all these excellent productions, except. KaHri-naki Zenshin, are
cinematizations of novels and plays by well-known authors. In addition, there were produced two noteworthy
films inspired by admirable literary works. They are S’dnjitsu Ichiro (Truth, the Only Way, in two parts;
Nikkatsu, released in June), and Wakai Hito (Young People, Tokyo Hassei, released in November ). The former
is based upon a novel by the same name of Yuzo Yamamoto, veteran humanitarian writer, and directed by
Tomotaka Tasaka. In this Shinjitsu Ichiro is shown a group of people who each, true to their individual
ideals, seek what they consider to be truth. At the end they find that they must live a lonely life, all separated
from one another because of their very faithfulness to their own ideals. There is manifest in this work a
burning love for the ideal and true. Wakai Ilito is the screen version of a novel by Yojiro Ishizaka, a most
promising young writer, and the stage production by a coming director, Shiro Toyoda. The central theme is
the rather unusual love affair betwen a young m de teacher, a female teacher and a pretty student in a girls’
high school in the north. The colourfulness of the story and the clever character sketches combine to make
this one of the most favourably received by cinema critics and also a big success with the large majority of
cinema-fans.

With reference to Jidai-geki or historical movies a similar tendency towards realism may be observed in
1 937- It 's worthy of special note that the J idai-geki advanced from the traditional, formalized, unnatural type
into a more historical, realistic type. Osaka A'atsit no J in (The Summer Battle of Osaka, Shochiku, released
in April), directed by Teinosuke Kinugasa, and Shinsen-gwni, scenario by Tomoyoshi Muray raa and directed
by Sotoji Kimura, are both creditable works, dealing, each, with an epoch-making historical event. They
show evident traces of efforts to raise the standard of this genre of motion -pictures to that of realistic,
historical movies, and are sig-
nificantly suggestive of the new
trend.

Besides the above-mentioned,
there are others that are highly
memorable among the screen out-
put of 1937. Owing, however,
to space limitations, detailed
comments cannot be made, and
only their names are given here :

Slmknjo 7va Nani o Wasuretaka
(What Did the Ladies Forget?

Shochiku)), directed by Yasujiro
Ozu ; Shu to Midori (Vermilion
and Green)), Ron’jaku Sanba-Garasu
(The Engaged Three)), Asakusa
no Hi (Lights of Asakusa)), all
Shochiku productions directed by
Yasujiro Shimazu ; Kojo no Tsuki
(The Moon over the Ruins, Sho-
chiku)), directed by Keisuke Sasaki ;

Hanakago no Ufa (Song of the
Flower-Basket, Shochiku), direct-

Including theatres under Japanese management in Manchoukuo and China

17

ed by Heinosuke Goslio ; Karayuki-san (T6ho), directed by Sotoji Kimura ; Ninjd Kami-Fiisen (The Paper -Balloon,
Tohoj), directed by Sadao Yamanaka.

1 he cinema world of Chosen (Korea) which had scarcely had any notable production to its credit gave the
first promise of progress in 1937. Bor example, Tabiji (The Journey, Seiko Eiga-En, distributed by Shinko ;
released in May), which successfully represents the geography and racial characteristics of Chosen, was
favourably received and inspired great hopes for the future of Korean films.

Last, but not in the order of importance, we must discuss Atarashiki Tsuchi ( The New Earth ), a German-
Japanese joint production. It is produced by Mr. Nagamasa Kawakita, President of the Towa Shoji Company,
Ltd., and Dr. Arnold P'anck, the master hand at Alpine films. Dealing with Japanese nature, life and customs, it
is meant to be an introduction of Japan to foreigners. Although it proved a great box-office success, it was not
accorded high praise amongst the Japanese. Its unpopularity at home is due to the fact that it has failed to
represent and interpret Japan properly. It is almost an impossible task for anybody to describe proportionally and
properly a complex country like Japan, which contains all the complications and contradictions resultant from the
juxtaposition and harmony of the past and the present, Pfast and West, nature and modern science. No foreigner
can possibly interpret all this, much less present it with creditable success, by a sojourn of one year and keen-
est observations during that time. y^The failure of The New Earth , therefore, is no fault of Dr. P'anck or of h is
staff; it is due to the inadvisability, as would be obvious from the foregoing, of having a foreigner, however
understanding and sympathetic, to describe Japan.

Nevertheless, we must admit that the production of The New Earth was a significant, even meritorious,
enterprise. Although the distorted presentations of Japan abroad cannot be commended, this picture must be
given the honour due to a pioneer in the new field of Japanese cinema production, proving, as it did, the
possibility cf film making on an international scale and addressed to an international audience and market.
Purthermore, it was shown in a few countries where it served as a useful channel for cultural exchange between
Japan and those countries.

NOTE; Imai Eiga Seisakujo was
merged into the Toho Eiga Co.,
Ltd., January, 1938.

Tokyo Hassei Eiga Seisakujo
closed its production February,
1 938.

18

SHOCHIKU

CAPITAL

Theatre

Revue

Distributing

Department

for

Imported

Films

Shochiku

Producing

Department

Shochiku Co., Ltd.

Ofuna Studio (for contemporary films)

Kyoto Studio (for historical films;

D • n (Tokyo Head Office
B"siness Bep' I Osaka Office

Tokyo studio (for contemporary films)

Kyoto Studio (for historical films)

NIPPON KATSU-
DO SHASHIN
CO., LTD.
(NIPPON MO-
TION PIC-
TURE CO.)
(NIKKATSU)

¥ 8,1

n„r;„a„ (Tokyo Head Office
Success Dep. 1 ^ 0(|ic(

Tokyo Studio (for contemporary films)

_ Kyoto Studio

(for historical films)

~ Kyoto Daiichi (No. 1) studio

■— Kyoto Daini (No. 2) Studio

DAIT0 EIGA CO.,

LTD.

(DAITO M. P. CO.,

LTD.)

( Kyoto Head Office
, I Kanto' Office

Business Dep. , Chiikyd Office
Kyusyd Office
x Hokkaido Office

¥ 700,000

^ Sugamo

Studio

Tokyo

KY0KUT0 EIGA CQ„

LTD.

(KY0KUT0 M. P.

CO., LTD.)

¥ 500,000

1 ZENSH0 KINEMA

CO., LTD.

¥ 200,000

(Tokyo Head Office
Kansai Office

Business Dep.-) chibu office

Kyu shu Office
Hokkaido Office

Furuichi

Studio,

Osaka

Theatres under Direct Manage-
ment

Theatres under Special Con-
tract

Theatres under Percentage
Contract

Kyoto Daiichi (No. 1) Studio

Kyoto Daini (No. 2) Studio

Theatres under Direct Manage-
ment (5)

Theatres under Special Con-
tract (391)

Theatres under Percentage Con-
tract (96)

— Theatres under Direct Management (2)

— Theatres undei Special Contract (76)

Theatres under Percentage
Contract 122)

Theatres under Direct Mangement (10)

Theatre under Special Contract (18)

Theatres under Percentage Con-
tract (381)

Theatres under Special Contract (395 )

Business Dep.-

Nara Head Office

Tokyo Office

Ctiubu Office

Theatres under Direct Management

Chugoku Office

Kyoto Office
.Kyosyi Office

Theatres under Special Con-
tract (330)

Theatres under Percentage Contract

Ayameika Studio, Nara

19

RAZE NO NAKA NO KODOMO

(Children in the Wind)

A SHUCHIKU PICTURE

“ Chidren in the Wind ” is a film version of the novel by Joji
Tsubota, a past master at juvenile portraiture. But though its
main characters are composed of children, it is not the Cinderella
type of charming make-believe. The story, centring about inno-
cent boys, shows how greatly indeed the stern realities of life
affect the minds and bodies of these youngsters. It is told, not
from their elders’ point of view, but as they themselves see the
ups and downs of their little world.

In a certain country village there lived two little boys, Zenta
and his brother Sanpei, who were very affectionate to each other.
Zenta, a pupil in the fifth grade, was diligent in his studies, but
Sanpei, then in his first year at s.chool, preferred play to studies.
One day their father, who was employed in a firm, was arrested
on suspicion of forging documents of the firm ; and from then on
a dark shadow hovered ever the family. Both Zenta and Sanpei
were ostracized by their playmates. The mother decided with
Zenta to seek employment in order to scrape together the family
livelihood, sending Sanpei, who was as yet much too young to
work, to live with his uncle in a distant village beyond the mountain.

Sadly but bravely she explained to Sanpei why this had become
necessary. Little Sanpei, however, could not quite understand
what it all meant. He could only feel that it was very painful
indeed for him to part with his mother, his brother and home.
But after a period of grief for Sanpei, of loneliness for Zenta,
and of hardships for the mother, the father was at last cleared of
suspicion in the forgery case, and happy days again visited the
family.

Hiroshi Shimizu, who adapted the story to the screen and
directed the film play, has been widely known for his fresh touches.
Himself very fond of children, be has a good understanding of
the workings of their little minds. What is more, his spirit of
reproducing bits of life, of which he has been aiming to fulfil for
the past several years, has here produced a salutary effect, so that
what he has turned out is an agreeable, an excellent, picture, free
from sentimental pathos. In passing, it should be noted perhaps
that under Shimizu’s skilful direction, the juvenile actors of this
film play perform their parts in a very natural manner.

KISAO UCHIDA

20

KAZE NO NAKA NO KOOOMO

(Children in the Wind)

Produced end distributed by
Shochiku. Story by J 6 j i Tsubota.
Adapted and directed by Hiroshi
Shimizu. Photography, Masashi
Saito.

CAST

Father* Reikichi Kawamura

Mother Mitsuko Yoshikawa

Zenta Masco Ilayama

Sanpei Bakudan Kozo

Uncle Takeshi Sakamoto

Aunt Fumiko Okamura

21

KOJO NO TSUKI

(Moon Over the Ruins)

A SHOCHIKU PICTURE

“ Moon Over the Ruins ” is modelled after the distinguished
Japanese composer, Rentaro Taki (1879 — 1903) — a film dramatiza-
tion of his closing years.

Graduating from Tokyo Academy of Music in 1898, Taki
went over to Germany for further study in 1900, returning to Japan
the following year on account of illness. He died a few years after
his return, at the age of twenty-four. Though death took him very
young, he composed during his brief lifetime a number of excellent
songs. His Kojo no T su\i and Ha\one Hachi Ri, for example,
are still sung to-day with as much feeling and appreciation as ever.

The film play starts from the time Taki, then an instructor
at a music conservatory, revisits his native place in the country
after a lapse of some years. The house in which he was born
has already passed into the hands of ethers, and the scenes
of his native village move him deeply. But a friend of his
childhood named Miura, who is now a village school teacher, and
the latter’s sister Shizud undertake to console him. Between Taki
and Shizue there comes into being a pure sort of understanding.
O-mitsu, the elder sister of a poor boy on whom he took compassion,
also loves him, though secretly. Realizing that his health is none
too good, Taki promises to wed Shizue at some future date. One
day he goes to a castle, now in a state of ruin ; receives inspira-
tion from it, and composes the song “ Moon Over the Ruins ”, He
then departs for Tokyo to complete the orchestral score for it.
On the train en route, however, his illness takes a turn for the
worse. In a miserable inn, and watched over by Shizue and her
brother who arrive upon hearing about his condition, Taki breathes
his last.

The picture is agreeable to see with its pure sentiments and
contains views of the expanding rural scene. Though some-
what tedious, it is by far the best film made by Director
Keisuke Sasaki, who has hitherto turned out no work of merit to
speak of. It is performed by a number of new stars including
Shuji Sano, Sanae Takasugi and Miveko Takamire

KISAO UCIIIDA

KOJO NO TSUKI

(Moon Over the Ruins)

Produced and distributed by
Shdchiku. Story and screen adapt-
ation by Akira Fushimi. Directed
by Keisuke Sasaki. Photography,
Hiroyuki Nagaoka. Music, Keizo
Horiuchi.

CAST

Taki Shuji Sano

Miura Shin Saburi

Shizue Sanae Takasugi

O-Mitsu Miyeko Takamir.e

Ken-chan Masao Ilayama

Miura’s mother .. . .Choko Iida

22

HANA-KAGO NO UTA (Song of the Flower-Basket)

Produced and distributed by Sho-
chiku. Original story by Fumitaka
Iwasaki. Adapted by Heinosuke
Gosho. Screen play by Kogo Noda.
Director.Heinosukd Gosho. Photog-
raphy, Hideo Mohara and Masao
Saito

G A S T

Keiz6 Reikichi Kawamura

Y6ko, his daughter. . Kinuyo Tanaka

Ono Shdj i Sano

Ri (cook) Shin Tokudaiji

Hotta Chishd Ryti

HANA-KAGO NO UTA

(Song of the Flower-Basket)

A Shochiku Picture

Heinosukd Gosho may be reckoned among the finer movie
directors of Japan, being well versed in the metier of the cinema
and possessing as he does a good understanding of its entertainment
value. I-Ie has made such pictures of outstanding merit as Jinsei
no O-nimotsu (The Burden of Human Life), a realistic and ironical
delineation of the life of the petite bourgeoisie. His greatest forte,
however, lies in the depiction, by dint of a supple touch, of the
feelings and customs of old Japan which are still extant to-day,
seasoning it with a fine admixture of sentiment and humour.

“ Song of the Flower-Basket ” is also fashioned from material
which constitutes his stock in trade. The setting is a ton\atswya,
or small restaurant that specializes in pork cutlet, which stands in
the rear of the Ginza, Tokyo’s main street. The story centres about
the romance between Yoko, the much-talked-about daughter of the
proprietor of this restaurant, and a college student named Ono. A
number of people including Yoko’s generous father, Ono’s jolly
friend Hotta, and a Korean-born cook named Ri revolve around
this young romantic pair. The play shows vestiges of the old Yedo
atmosphere as well as some slight indications of social trend and
change in the midst of Tokyo, where the features of a great modern
metropolis are constantly and increasingly taking shape.

Kinuyo Tanaka, who plays the part of Yoko, is an actress who
is perhaps without a peer in Japan at the present moment as a
portrayer of typically Japanese maiden roles. She is as lovely
as ever in this picture, bringing out as she does the coquettish
qualities of a chic daughter of the down-town mercantile class most
charmingly, while Shuji Sano as the leading man Ono gives a good
impression. Of the supporting cast, special mention should be made
of the splendid performance as a character actor which is given by
Chishu Ryu in playing the part of Hotta, the young man who even
acts as a Buddhist preacher while attending college.

KISAO UC-HIDA

BRITISH FILL) inSTiTUTE
BOOK LIBiiAttf

23

ASAKUSA NO HI

(Lights of Asakusa)

A SHOCHIKU PICTURE

Asakusa is the name of a popular amusement quarter which is
located in a corner of Tokyo, adjacent to the famous Asakusa
Kannon Temple. Movie theatres, music and other show-houses that
cater to the masses' line the streets, and together with a wide variety
of shops and amusement places that surround them, they constitute
a thriving centre where people of all walks of life congregate. At
one time, some twenty years ago, the opera existed here in all its
glory, side by side with the cinema and legitimate shows. At least
it went by the name of opera, though it was not the genuine stuff
but rather a popularized version, a cheap affair along the lines of
a musical show and done on a small scale. This flourishing medium
of entertainment aroused, on the one hand, a curiosity for Western
music and Western shows, and served, on the other, as the pre-
cursor of the revue, which is now the rage in Japan.

“ Lights of Asakusa ” is a melodrama which treats of this
amusement street in that era and is based on a popular novel by
Hiroshi Hamamoto. The hero is the brawny, chivalrous Shichiro
Yamagami, an actor of an operatic troupe called Nippon-za. The
rest of the cast is a hodge-podge of such characters as a chorus
girl named Reiko Kosugi ; a poor painter in love with the girl and
known as Bokacho (a denominational parody of Boccaccio) ; the
leader of the operatic troupe who strives for the establishment of
a fine, worthwhile show ; an ambitions actor who leaves the troupe
for a career on the reguler stage; a girl named O-ryu, of a shoot-
ing gallery ; and a number of hooligans who infest the amusement
quarter. Around this cast a movie filled with many suspenses and
heart feelings has been made which eminently appeals to the taste
of the general public.

The director, Yasujiro Shimazu, is a veteran of the film world.
While it cannot be said that he has here exhibited the full measure
of his talents, one nevertheless notes in this picture that he is still
a master hand at cinema craftsmanship. The operatic scenes are
taken under the guidance of Shizuko Shimizu, an opera star of
yesteryear. KISAO UCHIDA

24

A S A K U S A NO HI

(Lights of Asakusa)

Produced and distributed by
Shochiku. Story by Hiroshi Hama-
moto. Adapted by Tadao Ikeda.
Directed by Yasujiro Shimazu.
Photography, Toshio Ubukata.
Music, Hikaru Saotome.

CAST

Reiko Kosugi Miyeko Takamine

Shichiro Yamagami ..Ken Uehara

Bokacho Daijird Natsukawa

O-Ryu Yoshiko Tsubouchi

Beniko Yoshino. .Kaneko Fujiwara

Asukai Shin Tokudaiji

Marie Matsushima

Haruko Sugimura

25

SOBO

(These People)

A NIKKATSU PICTURE

Thousands of people stream out of Japan every year to seek
new fields of activity in foreign lands. They are a motley group,
hailing from all parts of the country and representing sundry
classes and sundry types. The bulk of them are peasants, the rest
being a mixture of labourers and pet its bourgeois. Reduced to the
last extremity in this country where an over-crowded population
renders it extraordinarily difficult to make a living, these emigrants
sadly renounce their attachment to their native soil and its people,
and set out to settle in strange, faraway lands.

Emigrants going to Brazil undergo a rigorous test, following
which they pass the week before sailing time at the receiving
station. The receiving station is situated in the uptown section
of Kobe, the great seaport of western Japan. Here the emigrants
receive instructions on all sorts of subjects with respect to Brazil,
such as its language, its geography, its industries, its manners and
customs.

The film play under review depicts the life at the emigrant
receiving station during the allotted week of preparation in a very
realistic fashion. There is practically no plot in the unfolding
scenes to speak of, no protagonist that might be called a leading
character. It merely succeeds in presenting its cast as a group,
bringing out in lively relief the many distinctive types of people
that comprise the group. The result is the most unique, the most
estimable masterpiece in the cinema of Japan.

The movie is based on the .story by Tatsuzo Ishikawa, the
man who received the Akutagawa Award — a literary award which
was founded to perpetuate the memory of a famous novelist, the
late Ryunosuke Akutagawa. Bunjin Kurata prepared the scenario,
and the direction is the work of Hisatora Kumagai. Through this
picture Kumagai, hitherto a comparatively unknown director,
achieved fame for the first time.

AKIRA IWASAKI

26

0

S 0 B

(These People)

Produced and distributed by
Nippon Motion Picture (Niklcatsu).
Story, Tatsuji Ishikawa. Screen
adaptation. Bun jin Kurata. Di-
rector, Hisatora Kumagai. Photog-
raphy, Kazue Nagatsuka.

CAST

Natsu Sato Kiyo Kuroda

Magoichi, her brother

Ichiro Izawa

Oizunri Koji Shima

His wife Sadako Sawamura

Nakatsugawa

Reizaburo Yamamoto

His wife Hisako Takihana

27

TABIJI

(The Journey)

A SHINKO KINEMA PICTURE

This picture is worthy of note in the sense that it is the
first work of merit turned out by the movie industry of Chosen
(Korea). It was made by the Seiho Eiga-En, a serious cinema
producing group of Chosen, with the assistance provided by Shinko
Kinema’s Oizumi Studio. The scenario and direction are by Ri Kei-
kwan, and the work was supervised by Shigeyoshi Suzuki.

With the approach of the cold winter season, the people of a
certain out-of-the-way hamlet in southern Chosen busied themselves
with setting up heating stoves and re-roofing houses. In the midst
of these preparations Kin Fukuryu returned from out yonder.
A young, stalwart labourer, he had been away from this native
village of his for a long time, working at the fishery on the
distant coast. Having saved some money, he had come home to
his beloved wife and child. The happiness of this family after
the long separation was marred by one thing : Kin’s aged father
was an egregious miser, hoarding his money even by refusing to
fulfil the little social obligations expected of him in the community,
so that he was treated with scorn by the village people. Because
of this there was discord for a time between father and son.
But it dawned upon the latter that his father's greed and attach-
ment to money was the only guarantee which would insure the
family’s subsistance with anything like firmness and certainty ; and
the two were reconciled.

It happened, however, that the village barber was a scoundrel,
and while Kin was absent from home, at work in a distant place,
he murdered the old miser and robbed him of his savings. Kin,
returning for the second time, was driven by rage and vengeance
upon hearing about the tragedy into taking the life of the scoundrel.
Leaving behind his faithful wife Gyokuki and his small son, he
set out, handcuffed, on his long journey of atonement.

The leading characters, O Hei and Miss Bun Geiho prove
themselves in this picture to be actors of real ability.

AKIRA IWASAKI

TABIJI

(The Journey)

Produced by Seiho Eiga-En.
Distributed by Shinko. Screen play
by Ri Keikwan. Director, Ri Kei-
kwan. Producing conductor, Shi-
geyoshi Suzuki. Photography, Ta-
tsuichi Okubo.

CAST

Kin Fukuryu G Hei

His father Boku Saiko

His wife Bun Geiho

Village Barber Doku Ginryu

Ko Ko Eiran

A T A R A S H lid T S U C H I

(The New Earth)

Produced by Arnold Fanck Pro-
duction. Distributed by Tovva
Shoji. Original story and screen
play by Arnold Fanck. Director,
Arnold Fanck. Photography,
Richard Angst. Setting by Ken-
kichi Yoshida. Music by New Sym-
phonic Orchestra, conducted by
Kos$ak Yamada.

CAST

Iwao Yamato. .

Sessue Hayakawa

Teruo Yamato Isamu Kosugi

Mitsuko Yamato Setsuko Hara

Her maid Yuriko Hanabusa

Gelda Ruth Eweller

Kosaku Kan da Kiji Takagi

[Iideko Kanda . . Haruyo Ichikawa

ATARASHIKI TSUCHI

(The New Earth)

A TOWA - J. 0. PICTURE

“The New Earth” is a joint Japanese-German production, in
the making of which the Towa Shoji Company, Ltd., and the J. O.
Studio of Japan cooperated with German interests. For this work
Dr. Arnold Fanck and his technical staff came to Japan.
Japan, on its part, furnished the actors of the Nippon
Motion Picture Company (Nikkatsu) and others, Mansaku
Itami assisting Dr. Fanck with the scenario and direction. Dr.
Fanck and his party remained in Japan for almost a year to com-
plete the picture.

The object of producing “The New Earth” was above all to
acquaint the people of other lands with the spirit, the life, the
customs, the natural sceneries of present-day Japan. It is an ex-
tremely difficult task, however, to present an accurate picture of
a country like Japan where the old and the new, the East and the
West, are in conflict with each other, yet form the warp and woof
of its life — a country characterized, in short, by contradictions
and complexities which, curiously enough, are none the less brought
together into a unified and harmonious whole. And though the
work of Dr. Fanck, who strove to understand and depict all this,
should rightly be appreciated, it cannot be denied that he has
failed. The play itself is faulty in that it errs in a good many
instances in conveying what may be described as the true Japan.
It is also a flimsy affair, dramatically speaking. Yet, by means
of a fine camera and first-rate montages, Dr. Fanck has captured
numerous phases of life in Japan and its scenic beauties; and
while the result is not as accurate as it might have been, he has
in any event done a deal of service in presenting Japan to the
outside world in a more broad and more general way.

With regard to the performers, Isamu Kosugi. who is rated
as Japan’s best character actor, is cast in a role for which he is
ill suited, so that he does not display his abilities here to the full.
But a new star, Setsuko Flara, has won the approbation of the
public with her beauty.

KISAO UCHIDA

29

HADAKA NO MACHI

(The Naked Street)

A NIKKATSU PICTURE

Fukutomi conducts a phonograph shop in a certain thriving
street. But he is too good-natured a man to succeed in business
and falls heavily in debt. One of his creditors, a usurer by the
name of Masuyama, takes advantage of his crass naivete, cleverly
dispossessing him of his entire property. Fukutomi's fate, however,
is not merely the tragedy of this individual alone ; it is the tragedy
of a great many good-natured, weak-willed, petits bourgeois who
are victimized and ruined by the scheming crooks of this world.
Yet Fukutomi does not directly meet with ruin. He is saved and
encouraged by his intelligent wife Kiyo, rises up again and leads
a poor but honest life as conductor of one of those street-stalls
that open for business at night.

“ The Naked Street ” is a free adaptation to the screen of the
play by Yutaka Mafune, a young dramatist. Both the adaptation
and the continuity are the work of Yasutaro Yagi. Tomu Uchida
directed the film play.

The picture has a glaring defect in the matter of form. It is
lacking in unity, and a certain part of it adheres too closely to
the stage technique of the original play. But the subject itself, a
forthright view of realities in the life and economy of the petite
bourgeoisie and Tomu Uchida’s powerful execution of it, possess
a quality which appeals to us tremendously. Also, Isamu Kosugi’s
performance (as the usurer) and that of Chiyeko Murata (as the
wife of Fukutomi) are not only excellent, but singularly impressive
as well.

AKIRA IWASAKI

30

H A D A K A NO M A C H I

(The Naked Street)

Produced and distributed by
Nippon Motion Picture (Nikkatsu)
Story by Yutaka Mafune. Screen
adaptation, Yasutaro Yagi. Direct-
ed by Tomu Uchida. Photographer,
Tatsuyuki Yokota. Setting by Ya-
suji Hori.

CAST

Yoshimitsu Fukutomi. .Koji Sliima
Kiyo Fukutomi . . . .Chiyeko Murata
Kinsaku Masuyama. .Isamu Kosugi
Naoto Sakakibara

Kaichi Yamamoto

31

SHINSEN GUM I

A TOHO PICTURE

The great change that swept over Japan with the dissolution
of the feudal system inaugurated in the Tokugawa era (1603 — 1867)
and the founding of its modern regime is known in Japanese
history as the Meiji Restoration. It constitutes the most stupendous
upheavel experienced by this nation. Some seventy-odd years ago
the old conservative forces and the new progressive elements op-
posed each other and engaged in sanguinary fights, forming the
real axis of this transformation. Shinsen Gumi is the name of a
small but highly efficient group of samurai which were mustered
by the Tokugawa Shogunate at the time. Serving as agents of
political reaction, these warriors played the most active part in
the struggle. The Shinsen Gumi and their renowned leader, Isami
Kondo, have been by far the most popular subject of the ordinary
historical film play, and pictures which treat of this subject prob-
ably number well over a hundred.

The film play under discussion, however, attempts to show in
a new light a phase of the Shinsen Gumi which has been entirely
ignored in previous pictures. In other words, instead of depicting
the glorious, triumphant period of this group as heretofore, it
shows how the Shinsen Gumi were overwhelmed by the newly-risen
political forces and went swiftly to their destruction. Its merits,
moreover, consist in its critical handling of the subject from a
historically realistic point of view.

The picture has been made from the original scenario by
Tomoyoshi Murayama, under the direction of Sotoji Kimura. The
result is far from perfect artistically, but as a new type of his-
torical film play, it is worthy of notice as a contribution to the
course which the historical cinema of Japan is shaping.

AKIRA IVVASAKI

32

S H I N S E N G U M I

Produced and distributed by
T6h6 Eiga. Original story and
screen adaptation by Tomoyoshi
Murayama. Director, Sotoji
Kimura. Photographer, Hiroshi
Suzuki.

CAST

Kondo-Isami . . Chojuro Ka xvarasaki

Hijikata Toshizo

Kan’emon Nakamura

Okita-Soshi Yoshisaburo Araslii

O-Shizu Shizue Yamagishi

Others Members of Zenshin-Za

33

SHINJITSU ICHIRO

(Truth, the Only Way)

A NIKKATSU PICTURE

This is a long film play, in two parts, which is based on the
novel by YCizo Yamamoto, a representative author of the realm of
contemporary Japanese literature. The scenario is by Yoshio
Aramaki and the direction by Tomotaka Tasaka, both of which
have turned cut to be something far from brilliant. But in point
of conveying, via the screen, the humanistic ideology of the novel,
it is being highly commented upon.

Gihei Mcrikawa, a middle-aged office clerk, is a man of in-
tegrity, faithful and sincere. He is living a modest life with his
young daughter Shizttko and his little boy Yoshio. Yoshio is a
nervous child, sensitive and easily affected. He cherishes a loving
memory of his mother who, he thinks, is dead — -or so he has been
led to believe by his father — but who is actually living. Mutsuko,
the mother, deserted the family about fifteen years ago. She is
now the mistress of a bar of questionable reputation and living
with her young lover.

They are all good people, with a plenitude of affection. Mutsuko’s
brother Soko, an artist, strives to bring about a reconciliation,
partly succeeding in the attempt. Nevertheless, they all live in a
different world of their own, and so long as they remain faithful
to their own ideals and convictions, it is inevitable that they should
go their separate ways. Since they each love the truth as each
conceives it. these people are not destined for that happy, tranquil
life which they might otherwise achieve. Yet the human character
of their beliefs is much the more valuable than the happiness of
a commonplace home.

AKIRA IWASAKI

34

S H I N J I T S U ICHIRO

(Truth, the Only Way)

Produced and distributed by
Nippon Motion Picture (Nikkatsu).
Story by Yuzo Yamamoto. Adapt-
ed by Yosliio Aramaki. Directed
by Tomotaka Tasaka. Photography,
Sabuio Isayama.

CAST

Gihei Morikawa ....Isamu Kosugi
Shizuko, his daughter

Kogiku Ilanayagi

Yoshio, his son

. ...Akihiko Katayama

Mutsuko Ilisako Takihana

Soko Koji Shima

Kyosuke Sumida. .Hiroshi Tsumura

35

SHUKUJO WA NANI 0 WASURETA KA

(What Did the Ladies Forget?)

Produced and distributed by
Shochiku. Original story by Yasu-
jiro Ozu. Screen adaptation, Akira
Fushimi and James Maki. Directed
by Y asuj iro Ozu Photographer,
Hideo Mohara.

CAST

Doctor of Kojimachi. .Tatsuo Saito

His wife Sumiko Kurishima

His niece Michiko Kuwano

His assistant Shuji Sano

Business man of Ushigome

Takeshi Sakamoto

His wife Choko Iida

Widow Mitsuko Yoshikawa

SHUKUJO WA NANI 0 WASURETA KA

(What Did the Ladies Forget?)

A SHOCHIKU PICTURE

This is a conversation piece based on the life of the leisure
class. As might be expected from Yasujiro Ozu, the director, a
man who has hitherto shown human kindness and sorrow through
depictions of the petite bourgeoisie, he has not neglected, in the
case of this portrayal of the idle rich, to inject a bit of cynicism
into it.

However, it would not be appropriate to call it a satirical
comedy. It should rather be regarded as an example of sophistica-
tion, showing as it does that a smart, suggestive presentment and
a dialogue abounding in wit which laughs off everything are im-
portant factors of a fdm play.

A medical professor and a business man who pretend that they
are going out for a game of golf but visit the bar instead; wives
who, the moment their husbands leave home, get together and
spend the day in idle gossip ; a “ modern ” girl who has a craze
for going wheresoever young men betake themselves — -these, in
short, are the principal characters.

Considering the typical nature of these characters, we can well
understand why Yasujiro Ozu is far from sympathetic with them.
Yet they are not without an exception or two. For instance, one
might observe in the portrayal of the “ modern ” girl, who may- be
said to be an incarnation of curiosity, the sharp sense of a hound
smelling out the lies of this society. In that respect, it is but
natural perhaps that Michiko Kuwano, who plays this role with a
deal of charm, should come in for the greatest measure of the
movie patron’s applause. Tatsuo Saito, cast for the part of the
medical professor wh'o always manages to escape from his wife
on Sundays, likewise gives a clever performance.

TADASI IIZIMA

36

OSAKA NATSU NO JIN

(The Summer Battle of Osaka)

A SHOCHIKU PICTURE

" The Summer Battle of Osaka ” is an historical film, a singularly
ambitious affair. It is an attempt on the part of Director Teinosukd
Kinugasa to reproduce on the screen, in its entirety, the “ Summer
Battle” — which Iyeyasu, founder of the Tokugawa Shogunate,
waged against the House of Toyotomi as represented by the heir
to the illustrious Hideyoshi, its previous Lord, and his retainers,
at Osaka, in May, 1615.

Such a task, however, is by no means a simple one. It can
not possibly be accomplished satisfactorily with a film play designed
for presentatian at a single sitting. Nevertheless, a motion picture
grasping this sort of history, as history, has hitherto been a rare
thing indeed, and the efforts poured into the work by Kinugasa
certainly deserve a great deal of appreciation. What is more, he
has to a considerable extent achieved what he has set out to do,
so that it may well be said that, by and large, his efforts have
been crowned with fruition.

The first half of the picture, into which historical facts are
woven, constitute the successful part of this film play. In con-
tradistinction to this, the latter half, wherein one of the principal
characters is tormented by personal preoccupations, destroys the
balance of the ensemble : a defect which should perhaps be attribut-
ed to a faulty delineation in the script. The hero rescues Iyeyasu’s
daughter at the risk of his life — and Iyeyasu himself promised to
give his daughter to him in marriage if he succeeded in saving
her — but is not rewarded with what is properly due to him.

The battle scenes are indeed spectacular. The handling of
mobs is also excellently done. The role of the hero who rescues
Iyeyasu’s daughter but who, in so doing, suffers a great facial dis-
figurement by fire, is played by Chojiro Hayashi. He gives his
very best to this performance.

TADASI IIZIMA

OSAKA NATSU NO JIN

(The Summer Battle of Osaka)

Produced and distributed by
Shochiku. Screen play, Teinosukd
Kinugasa. Director, Teinosuke

Kinugasa. Photographer, Ko'.tei

Sugiyama. Costumes by Kanpo

Yoshikawa. Music, New Sym-
phonic Orchestra. Music, arranged
and conducted by Shiro Fukai.

CAST

Sakazaki-Dewanokami

Chojiro Hayashi

Tokugawa-Iyeyasu ..Hideo Fujino
Toyotomi-Iiideyori . . Kotaro Bando

Yodogimi Chiyeko Higashiyama

Senhime Isuzu Yamada

Honda-Sado Kenji Susukida

Honda-Masazwni . . Kokichi Takata

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37

AI-EN-KYO

(The Valley of Love and Sorrow)

A SHINKO KINEMA PICTURE

“ The Valley of Love and Sorrow ” is the film play which Kenji
Mizoguchi directed after completing “ Sisters of Gion”.

In the making of these two pictures there has been no change
in Kenji Mizoguchi himself. “ Sisters of Gion " was produced by
an independent company, so its director was able to give full scope
to the plenitude of his powers. A great organization like the
Shinko Kinema, however, does not permit this. Thus, while making
a movie which would appeal to the popular taste, Mizoguchi had,
at the same time, to satisfy his own artistic conscience. It is our
view that the work of this director in melting, in his own crucible,
the contents of what amounts to no more than a stereotyped
tragedy and in any event succeeding, to a certain extent, in cast-
ing into shape an artistic presentation by dint of his own peculiar
realistic technique is worthy of commendation.

The contents of “ The Valley of Love and Sorrow” bear a certain

similarity to those of Tolstoi’s Resurrection. What is here

described is the tale of a girl who, seduced by a rake, becomes

pregnant, and with his child on her hands drifts through a world

filled with hardships and trials. In the numerous scenes in which
this woman is cast into the midst of a great city where she ekes
out a wretched existence without any kind soul to extend a helping
hand, Mizoguchi exhibits his admirable powers of realistic delinea-
tion which are no whit inferior to those he displayed in his previ-
ous pictures.

The part of the heroine is played by Fumiko Yamaji. Under
Mizoguchi’s masterly direction, she gives a performance, which,
for her, is quite the finest.

TADASI IIZIMA

38

39

WAKA! HITO

(Young People)

A TOKYO HASSEI PICTURE

This is a film version of the novel W a\ai Hito by Yojiro
Ishizaka, a rising literary talent. It was through this work that
ishizaka achieved recognition, the book topping the season’s best
seller list.

The setting of the tale is a mission school in northern Japan.
Its principal characters are a girl student of the school and the
teacher (a young man) who has charge of her class, as well as a
woman colleague of the latter.

The girl student in question is the illegitimate daughter of a
woman of a seaport town. Brought up as she was in such an en-
vironment, she possesses unusual nerves and a character far from
meek. The pangs of her commingled sense of revolt and attach-
ment are mirrored, as she grows older, in the minds of those
with whom she comes in contact. At times the life of her teacher,
as well as that of his woman colleague, is through this young
girl thrown into confusion.

The film play under review is principally concerned with the
depiction of such an environment. Obviously, the most interesting
thing about it is the figure of the young girl as she is constantly
swayed by complex psychological urges. Haruyo Ichikawa, who
appeared in “The New Earth”, portrays this character, and she
here exhibits a strange fascination in a new light.

The director is Shiro Toyoda. He has transferred this subject
to the screen with a passionate understanding. Consequently, the
film play, while possessing many faults from the point of view of
movie technique, has above all, in virtue of the singular environ-
ment and psychology of the subject, touched the hearts of those
who have viewed it.

TADASI 1 1 Z IMA

40

A K A 1 H

1 T 0

(Young People)

Produced by Tokyo

Hassei.

Distributed by Toho Eiga. Story
Yfijiro Ishizaka. Screen Play,
Naoyuki Hatta. Director, Shir5
Toyoda. Photographer, Kinya
Ogura. Art director Takashi Kono.
Music, Kamesukd Shioiri.

CAST

Keiko Enami Haruyo Ichikawa

Masaki Den Ohinata

Miss Sumi Hashimoto

Shizue Natsukawa

Keiko’s mother. .Yuriko Hanabusa

41

KAGIRI NAKI ZENSHIN

(Forward Forever)

A NIKKATSU PICTURE

Out of the original story by Yasujiro Ozu, who directed “ What
Did the Ladies Forget?”, Tomu Uchida has made the film play
“ Forward Forever As mentioned elsewhere in this series, Yasu-
jiro Ozu has so far made a good many pictures whose subjects are
taken from the life of the petite bourgeoisie and hence is a skilled
hand at projecting its characteristics via the screen. Moreover,
the man who adapted the story for the movie, Yasutaro Yagi, is
the most gifted of the Nikkatsu staff of continuity writers. It is
to be expected, therefore, that Tomu Uchida, who directed “ The
Theatre of Life ” the year before, should turn out a cinema bien
jaite.

The axis round which the story revolves is the case of an aged
office clerk who had served the same firm continuously for over
twenty years, but who, on learning that in three years he would
be discharged under the firm’s regulations governing the age limit
of employees, loses his mind. Instead of showing this in a dramatic-
ally realistic fashion, however, the story is depicted, sometimes
comically and at other times as merely a chimerical product of
the leading character’s imagination. So that the atmosphere en-
gendered thereby is, on the whole, not so depressing as it might
have been. Still, the idea of a petit bourgeois, with a snug little
fortune tucked away for the rainy day, becoming mentally un-
balanced. for the above-mentioned reason, is a bit far-fetched.

It seems to us that Tomu Uchida is better equipped for the
handling of stories with a forthright themes than film plays like
the one under review which boasts of a good many clever comic
turns. It may be that Ozu's original story has, in this respect,
been something of a handicap. Nevertheless, in so far as his
actual work as director is concerned, it is as scrupulous and as
splendid as ever. As for the actors, Isamu Kosugi’s portrayal, who
is cast as the leading character, is the most convincing of all.
Pretty Yukiko Todoroki also gives a good account of herself.

TADASI IIZIMA

42

K A G I R I N A K I Z E N S H I N

(Forward Forever)

Produced and distributed by
Nippon Motion Picture (Nikkatsu).
Original story, Yasujiro Ozu.
Adaptation, Yasutaro Yagi. Di-
rector, Tomu Uchida. Photography,
Michio Midorikawa.

CAST

Yasukichi Nonomiya

Isamu Kosugi

Maki, his wife Ilisako Takihana

Toshiko, his daughter

Yukiko Todoroki

Yotchan, his son

Akihiko Katayama

Mr. Kita Ureo Egawa

43

jl

^■1

\

ut | q

■ iri

Cult u r a 1

Films

Takao Itagaki

THREE-WEEK TRIP— The Board of Tourist Industry

In the field of cultural films 1937 has shown a great improvement upon previous years. Generally
speaking, 1936 was a year when problems were set, a year when first attempts were made; whereas 1937 has
been a year of positive achievement upon a set of definite principles. Inevitably, of course, a good number of
the cultural films produced during the year are not entirely free from the established malpractices of the
past, and some fail to achieve sufficient success despite the novelty of their ideas. There is also a group of
films which are recognizably affected by the critical situation the country is confronted with at the present
moment. Since it would be superfluous to dwell upon all these various and complicated phenomena, we shall
try only to summarize the state of affairs in the field of cultural films by means of a glance at some of
the more significant works produced on a definite programme for specific purposes.

The following is the summary.

I. Those new ly projected for the purpose of encouraging the domestic use of cultural films :

The Bureau of Social Education in the Ministry of Education newly established within the Ministry the
Central Committee for Film Education for the purpose of encouraging the use of films through local
educational bodies. One of the functions of this Committee is to distribute those films which are either
produced or purchased by the Ministry on certain new policies. As a consequence, among the future productions
of the Ministry of Education there will be found some that are based on a sound scheme such as has been
neglected in the world of Japanese cultural films. Of the 1937 productions Kokuinin Kaiyei f Let Every 1
Japanese Learn to Swim, 2 reels) and Aki no Sanya (jSecret of Nature in Autumn) are noteworthy. The former
tries by the use of slow -motion (^fast-speed) camera technique to illustrate the simple but representative styles
and techniques of swimming. The latter is an attempt at an artistic representation of nature in autumn through
occasional employment of fast-motion (Tlow-speed) technique^ 1

II. Those produced for the purpose of introducing Japanese culture abroad:

Attempts had previously been made along this line of production on a small scale and in an irrelevant sort
of fashion, but 1937 marked an epoch of progress, attracting the attention of interested people within the
country. I he important works in this group are found among the productions of the Kokusai Bunka Shinkokai
(1 he Society for International Cultural Relations). Poterie / aponaise (Also English edition, Japanese Pottery , 3
reels), L' Art cies Fleurs an Japon (Also English edition, The Floral Art of Japan , 1 reel) and Par la Fenetre des

44

Fxoles [apouaises (also English edition, Primary Schools of Japan , 2 reels) are all good examples. Musuine
Dojoji (i reel), a technicolour sound film with gramophone accompaniment, shows one of the representative
classical dances of Japan. The Art of Japanese Doll-Making (2 reels) explains the process of Japanese doll-
making. The last two, also Kokusai Bunka Shinkokai productions, are excellently edited in concise form as 16-
millimetre films.

III. Among individual productions we might mention the following two as noteworthy: Minaini-Jujisei wa
Maneku ((The Southern Cross Beckons, TO reels), produced by the Yokohama Cinema Company and released in
1938 ; Shogakko (The Primary School, 2 reels) by the Tokyo Nichi-Nichi and Osaka Mainichi Newspapers.
The former is an interesting descriptive film dealing with the customs and scenery of South America. The
latter is a faithful representation of all the equipments of the primary schools in Tokyo, produced on a careful
programme of the Committee of Specialists, and is an example of an extremely able production policy

IV Included in the wide sense of cultural and documentary films are those dealing with national affairs. Of
them the following three are worthy of special attention : Doto o Kette ((In the Eace of the High Seas, 8 reels) in
which 1 1 is Majesty’s ship Ashigara is shown on her voyage to Europe to take part in the naval review on the
occasion of the coronation of George VI : Gunkan-ki ni Eiko Are ( Glory to the Colours!, 8 reels); Shanghai ((9
reels, released in 1938 ). These three films which bear upon national policies are productions of the Toho Eiga
Kabushiki Kaisha under the patronage of the Navy Office.

HANDICRAFT— The Board of Tourist
Industry

THE FLORAL ART OF JAPAN — The
Society for International Cultural Relations

45

V. The Sakura lvogata Eiga Kyokai (JSakura 16-
Millimetre Cinema Association), which is the most
influential of all organizations interested in 16-milli-
metre films, sponsored the first international contest
ever held in Japan, and obtained some very inter-
esting results. A fair number of the contest pieces
from domestic exhibitors show a seriousness of atti-
tude with regard to production as purely cultural
films.

VI. Among the standard works that are produced
more or less regularly, A Glimpse of Japan (2 reels)
by the Board of Tourist Industry of the Government
Railways is a handy and well arranged introduction
to the life and institutions of Japan.

THE PRIMARY SCHOOLS OF JAPAN-
The Society for International Cultural
Relations

HANDICRAFT — The Board of Tourist
Industry

in the programmes of short-film theatres, many of which
came newly into being to answer the popular demand
for news-films relating to the Sino-Japanese Conflict.
This in turn increased the demand for a greater
number of short films in general, as compared with
previous years, and the result is that there are now
far greater chances for cultural films to be shown
to the masses of theatre-goers

The works mentioned above are selected only
from among those which seem to fulfil the purpose
for which they had been intended. There are
others, of course, that possess no outstanding peculi-
arity ; still others that are unsuccessful in executing
the very idea for which the production was planned,
however novel the idea itself may have been. These
are not given mention in the foregoing, though
they come under one or another of the six divisions.

The world of cultural films in Japan has
seen one particularly noteworthy development during
1 937. That is the inclusion of purely cultural films

THE FLORAL ART OF JAPAN— The
Society for International Cultural Relations

46

i\ E ff S • F I L 1 S

Yoshio Kaneko

In Japan at present there are in circulation five news -film weeklies, produced respectively by five newspaper
companies. News of all kinds is brought to the public through these film weeklies. It would be superfluous
to state that the growth of these film weeklies has been, without a single exception, closely dependent
upon that of journalism. The Osaka Mainichi (known as D limaf), the pioneer in this line, started its Daiincii *
News in the forty-first year of Meiji (T908J, which combined, later, with the Toni chi** News to become
Daimai- Toni chi Kokusai News. The Daimai News was followed by the Yomiuri News of the Yomiuri Newspaper
Company, the Sekai News (World Newsj) of the Tokyo Asahi and Osaka Asahi Newspapers, and more recently,
i.e., December, 1936, by the Remmei News prepared by the All Japan Sound News Press League which is a
federation of local papers, and lastly by the Ddmei News presented by the Domei Newspaper beginning July,

1937-

It was not until 1933 when the Sekai News was founded by the Asahi that the news -film began to show

signs of prosperity. During the past few years the two opposiin
Asahi and the Kokusai (International^) News of the Daimai-Tonichi,
have dominated news-film services. The news-film which supplies
news in the raw, so to speak, has found great popular favour as a
supplement to the newspaper. The Yomiuri News which until last
year appeared semi-monthly became a weekly affair ; the Domei
A'ews which started its career as recently as July, 1937, has already
found a large audience, and now ranks with the older and more
established film weeklies of the other companies.

A series of events that took place during 1937 have given great
impetus to the development of the news-films. Indeed, its surpris-
ing development during the past year has been largely dependent
upon this source of stimulation. Themes that had been regarded as
suitable materials for cultural films- — for instance, factory life — were
shunted by the importance of the sudden outbreak of the Sino-
Japanese conflict and other happenings of similar significance. All
this helped the news-film to become an independent entity with a
peculiar function to fulfil. In as much as the eyes of the specta-
tors, accustomed as they are to the speed of the times, seek the most
up-to-date data, the producers are obliged to catch the events as quickly
as possible. ITence the development of air-transportation for films
which is now a commonplace. These remarks apply not only to
home productions but also to foreign-made news-films. Exchange
and distribution of films between Japan and foreign countries are
now well systematized to the point of perfection, and, as a result,

services, the Sekai ( World j) News of the

ANIMALS IN NORTHERN SEA— Gei-
jutsu-Eiga-Sha

BE IN GOOD HEALTH— Geijutsu-Eiga-
Sha

* abbreviation fcr Osaka Mainichi

** abbreviation for Tckyo Nichi Nichi

47

importation of news-reels is arranged by cable in case of great haste. It is in this
fashion that a film like the one showing the disastrous end of the “ I lindenburg ”
reached Tokyo within an amazingly short time, making use of air and other transporta-
tion facilities. The Lakehurst event, likewise, was shown on the screen as “ hot news ”
in the remotest corners of Japan not long . fter the happening. News-reels of the
Coronation of King George VI were publicly shown in Japan within less than a week’s
time of the celebration, brought home by the Kamikaze which made the trans-Europe-
Asia llight in record time of less than a hundred hours. It is no wonder that those
European and American camera-men who had been in Japan until a few years ago,
serving the Hearst -Metrotone, Eox-Movietone, and other companies, are no longer here:
there is no further need for a foreign camera-man, and there is none.

With the popular craze for speed, the former method of distribution which had been
concerned mainly with the capital cities has become unsatisfactory to local news-fans.
As a result, a new system of distribution has been worked out, whereby the first -run
news-reels are shown in out-of-the-way towns at the same time they are shown in Tokyo.
Naturally, the number of prints must increase in exact proportion to the importance
of the event ; it has been on a steady up-grade, and during 1937 the number was almost
twice that of the previous years.

In this connection the increase in the number of news-film theatres must be noted
also. Among those in existence in the capital cities of Japan, there are ten in Tokyo,
five in Osaka, four in Kyoto, four in Kobe, all of which show signs of steady further
increase. It is indeed an amazing development when one remembers that it was only
in January, 1936, that the very first news-film theatre in the country came into being
— the Eirst Basement Theatre at Hibiya, Tokyo.

Equally noteworthy is the technical development of the news-film. We might
mention as illustrations one or two outstanding cases : the picture of the stomach-wall
at work in a living human body; the invention of a super-high-speed camera (^50,000
pictures a second j) whereby air waves can be easily projected on the screen. These are
in themselves big news to the world of science, and really successful news-films as well ;
something which Japan may well be proud of.

It has been the general rule of the Japanese news-film that the field of vision of the
camera — the range of themes — is somewhat limited as compared with that of other
advanced nations, a natural outcome of the peculiar conditions of the country. And
as a result the effect of the whole has been somewhat monotonous. But the technical
evolution, referred to above, is gradually according the Japanese news-film larger fields
of vision.

No summary of the news-film activities of 1937 would be complete without reference
to the Sino-Japanese conflict. For, after all, that is the biggest news of the year. As
has already been described, it is the people’s concern over the current situation that has
concentrated their eyes on the news-film. Over forty camera-men have been sent to the
war zones to report through the camera the actual conditions of the warfare as caught
raw and hot. It is their desperate efforts that enable us to visualize a bugle sounding
“ charge ” in the foremost line of battle. The camera-man’s conscience for “ superior
news for the people ” urges him to overcome difficulties.

It is this faithfulness to professional conscience that prompted the camera-man Tsune
Maeda to keep on turning the crank until death on the battle-field. Iliscase is only
one of many. In order for the camera to catch the aspects of reality, such sacrifice is
freely made. No technical tricks are needed when man’s best is given.

48

MOTION-PICTURE PRODUCTION IN KOREA

Tsuneya Ota

Motion -picture production in Korea has already passed the twenty-second year of its history. During this
period it has sent to market about one hundred and fifteen films, among which may be counted some dozen
talkie films. However, the film production business in Korea is not yet established on a firm basis. More
specifically, the fund for film production is collected for each single production, and each time a new name is
given to it. But with the completion of the film the organization is usually dissolved. This is undoubtedly due,
on the one hand, to the poor demand in the cinema market, natural in a place where both financial and
cultural standards of the people are comparatively low, and, on the other hand, to the scarcity of conscientious,
enthusiastic and able directors and producers. But the extensive advancement achieved in recent years through-
out the Peninsula, of which Central Korea forms the backbone, has given strong impetus to the film production
industry. And production under a joint fund from Japan proper and Korea is now being carried out in various
quarters. Film production as a business enterprise, therefore, will soon be on a firm foundation. To be specially
noticed in this connection is the artistic value of a film entitled Tabiji (The Journey), all sound, produced and
released in May, 1937, and the financial success it has scored. This work, presented by the Seiho Eiga-En
(Sacred Peak Cinema Garden ) with the cooperation of the Shinko Kinema Co., has greatly heightened the
interest of the people with regard to Korean film production, not only in Korea, but also in Japan proper. This
Tabiji will be exported to Europe and America.

Productions which now enjoy a certain amount of stability as business enterprises are the following three :
the Chosen Hassei Pliga Keijo Satsueijo (Korea Sound Cinema Co., Keijo Laboratory), the Chosen Eiga Seisakujo
(Korea Cinema Production Co.) and the Seiho Eiga-En (Sacred Peak Cinema Garden ). Of the above three
the Chosen Eiga Seisakujo, though it was not established until September, 1937, has already built its studio at
Giseifu in the suburbs of Keijo (Seoul), and joined hands with the Seiho Eiga-Pln, which is said to be the only
organization of cinema people in Korea —
directors, actors and actresses, and camera-
men— and is now making preparations to
launch on an active production schedule of
sound films. The Toho has extended its
helping hand to this organization and lias
agreed with it by contract on a joint work-
ing basis. The Keijo Satsueijo lias its

studio in Keijo (Seoul) ; it produced only
one sound film called Go Mu-jo (Five
Dream Women) as the sole product of the
year of 1937.

THE JOURNEY— Shinko Picture

1 lie films produced in Korea during
1 93 7 are as listed below:

* Junjo Kaikyb (The Strait of Innocent
Heart) (silent)
laikyu Satsueijo production
Original Story by Kan Taikun, Sce-

49

i [J - '7% 1

u mk 1

■ Mi

nario by Shin Keikin
Directed by Shin Keikin
Camera by Ryo Seiyu
Cast : Kin Ikkai, Kin Eigyoku

* Tabiji (The Journey) (sound)

Joint production of the Seiho Bfga-En and
Shinko Kinema

Original Story and Scenario by Ri Keikwan
Directed by Shigeyoshi Suzuki and Ri
Keikwan

Camera by Shin’ichi Okubo
Sound Effects : Mohara System
Cast : Bun Geiho, Ohei, Boku Saiko

* Go Mu- jo (Five Dream Women)

Keijo Satsueijo production
Original Story by Ri Taishun
Scenario by Ra Unkei
Directed by Ra Unkei (died, 1937)

Camera by Ri Meiu

Sound Effects by Kosaburo Yamamoto

Cast: In Hoshun, Ro Saishin, Kin Ikkai

* Jinsei Koro (Voyage of Life) (silent)

Kongo Kinema production

Original Story and Scenario by An Showa

Directed by An Showa

Camera by Ri Shin’yu

Cast : Ri Gen’yo, Bun Geiho, Gen Shun’ei,
Boku En

* Chinsei (Serenity) (sound)

Kishin Eiga production
Original Story and Scenario by Ri Kisei
Directed by An Sekiyei
Camera by Ri Meiu
Sound Effect by Ri Hitsu’u
Cast : Kin Soei, So Ingen
Besides these, there are two works now under
preparation : Kctnko (The Hankow, sound) by
the Hanto Eiga-sha (Peninsula Cinema Co.) and
Aireushd (Eulogy on Love, sound) by the Insti-
tute for the Study of Dramatic Art.

* In this article and elsewhere Korean personal names are
given in the proper order, the famiy name preceding
the given name

The three pictures on the left are one of the scenes in “ The Journey.*

50

Kisao Uchida

FOREIGN FILMS IN JAPAN.

ACHIEVEMENTS AND EFFECTS

If not to the whole of the Japanese population, at least to its cultured stratum, films imported from Europe
and America are now assuming a position of importance almost equal to that of necessaries of life. At present
there are being produced many excellent pictures at home — the progress of the Japanese film has been remark-
able, indeed, during the past few years — and the people show a growing interest in domestic productions. But
the demand for European and American movies has not diminished. One of the reasons for the unchanging
popularity is their general superiority to native productions. Another and perhaps more important reason is the

desire of the Japanese public to be in touch with the culture of the West through the screen, in other words,

an unending search for foreign culture, and a desire to enrich their own by the knowledge obtained therefrom.

Fortunately, Japan imports not only American films but a good number of Continental ones. Resources,
therefore, for promoting the Japanese culture are not limited to one country, but are furnished liberally by many
countries, with a variety of cultural peculiarities. Quite unfortunately, however, this supply of material for study
has ceased since the close of 1937 : a temporary embargo on imported films has been effected because of the

urgency of foreign exchange control resulting from the Sino-Japanese emergency. But the Government is now

deliberating on some proper means to settle the question. I11 all probability it will not be long before foreign
films may be imported again.

This interest of the intelligentsia in the cinema dates back some time, in reality from the time when the
cinema passed from the stage of “ novelty shows ”. In those early days, many movie versions of literary works
were imported from Italy, France, etc., to be shown to the public. They included such masterpieces as Salain-
mbo , II Sogno dim Tramonto d' Autumno, The Resurrection and Faust. At that time, however, neither the
showmen, who were merely circus promoters, nor the public knew that these were stories from B’laubert,
D’Annunzio, Tolstoi and Goethe. The former exhibited, and the latter saw, while both remained igno-
rant of the fact they were in touch vis-a-vis with some of the landmarks of world literature. The first ones
to awake to this situation were the contemporary men of letters who were just then starting a movement for
the translation and introduction of Western novels and plays. These men got together and founded the Bungei
Katsudo Shashin Kai (Literary Motion-Picture Society) for the purpose of encouraging and disseminating such
films as have been mentioned. That happened in the year of 1912.

This movement by literati and novelists did not last long. Various reasons may be given for this, but
probably the most important is the fact that motion-pictures had begun an independent process of development,
forsaking its previous reliance upon other, more established arts like literature anti the stage. As a natural con-
sequence, filming of literary works became fewer and fewer. But the cinema which had thus denounced its
allegiance to the senior arts did not, could not, rank with the established arts. And that was reflected in the
class of Japanese cinema-fans : men of letters kept away from the movie-theatres and the cinema served the
masses only as a form of cheap amusement. There were, however, occasional exceptions such as Cahilia,
Italian film written for the screen by D’Annunzio, and Thomas II. Ince’s Civilization. These extraordinary
productions did not fail to catch the attention of our people. But, on the whole, the period in which the cinema
was generally regarded as inconsequential amusement lasted until after the Great War.

But even during this period the film kept on making steady progress. As for the movie-fans, those who
had, from earlier days, been susceptible to the charm of films such as the early Italian historical films, the
French serial Zigomar, the American serial Broken Coins and the Universal’s “Blue Bird Pictures”, were

51

eager to find a real source of new interest in this growing cinema ; and at the same time, the younger genera-
tion which, inspired by all the signs of a new age, was enthusiastic to absorb foreign culture, naturally began to
show similar interest. The cinema ceased to be a mere toy, only favoured by high-school pupils : it
came to address itself to a rising generation of young people. In this fashion, European and American films
gradually gained ground in the cultured stratum of the Japanese people. Thus the cinema became a worthy
object of interest of the intelligentsia. Literati, novelists and stage people who had held a disdainful attitude to-
ward the screen were attracted again to this form of entertainment.

The next step was its acknowledgment as a new art. And modernity was its forte. Already there had
come into being a number of magazines that dealt exclusively with foreign movies. The theatres specializing
in foreign pictures were given a full measure of support by young members of the cultured classes. Some of
the more progressive movie-critics organized a group called “ The Society for Praising Good Movies ” as a part
of the enlightenment movement to disseminate the appreciation of superior films by Japanese intellectuals. The
society itself lasted only a few years, and the shortness of its existence was regretted by the contemporary
people. A few years later, however, the expansion of screen journalism and the growing interest in the cinema
on the part of the intelligentsia in general became such as to make up for the disappearance of such a society.
This favourable position of the cinema in Japan was further solidified by the coming of the sound film.

Let us review the panorama of those years from another point of view. Before the cinema was endowed
with such advanced methods of expression and contents as it is to-day, that is, at a time when it was still un-
able to attract the interest of the majority of Japanese intellectuals, the people’s thirst for knowledge of foreign
culture was mitigated and satisfied only through books. They were in a hurry to purchase and read the trans-
lations of Western novels, plays and literary studies as soon as they were published. They all but ran to the
theatre to see a translated European play performed. All this proved a useful channel to the understanding of
foreign thought, culture, customs and social trends. The people were also getting familiar with the geography
and history of Western nations through letters and graphs. At that juncture the cinema came to the fore.
And instantly it proved its usefulness as a practical means of introducing things foreign, a popular, but quite a
different, means from the literary channel. It must not be assumed, however, that the film was a means superior
to the previous one of letters. Nor did it make up for all the shortcomings of the other. All that can be said is
that book-knowledge was substantiated by visualising the facts on the screen, and screen-knowledge was sys-
tematized and rearranged by reading books. Especially since the “ film found its tongue”, the modes of
expression and the content have added to the realism, thus providing valuable material for studying Western
culture. An old Japanese adage says, “ Hearing a hundred times is not equal to seeing once ”. Seeing, indeed
is believing, and the film has proved, to a certain extent, the truth of this saying.

As a matter of fact, even those who are not so familiar with foreign novels and other literary works possess
a considerable knowledge of foreign countries through the help of the screen. As they frequent movie-houses,
they accumulate, unawares, knowledge and information concerning Europe and America. It would be no exag-
geration to say that the younger people of to-day, without exception, know at least what sort of street New
York Broadway is, what the down-town section of Paris is like, and so on. They are more or less acquainted
with the jazz music, gangster, college life of America ; they appreciate the French esprit ; they are impressed by
the scientific German mind, and, at the same time, carried away by the Vienna waltz. All this is a commonplace
to the man in the street. Not only that ; he has an individual impression of the American film, the P'rench
film, the German film, though the distinction may be along general lines. In other words, he has a knowledge,
somewhat vague perhaps, of America, France and Germany. But the more intellectual people look in the cinema
for something more significant ; they study its ideological implications, analyze the national character and society
that gave birth to such an ideology, and observe some of the world trends. What has this film to say? How
is that theme treated ? Why had this or that film to be made ? These points are examined, criticized and
analyzed by the intellectual who obtains, as a result, a more accurate estimate of situations abroad.

In this way, the people have added to their understanding of the West, and, on the other hand,
enriched themselves by the knowledge gained through the cinema. European and American films have affected

52

Japanese life in manifold ways. The Japa-
nese motion-picture industry has been greatly
promoted ; the study of acting and production
on the stage has been encouraged ; new
elements introduced into native music ; fresh
material furnished for the revue and dance,
women’s dress and toilet modernized, etc. Fur-
thermore, the films have promoted the study of
foreign languages, helped to encourage fresh
social life among young men and women. In
short, they have done much to enrich the cul-
tural life of Japan. For instance, the screen suc-
cess of a book has often led to the tremendous
sales of the translations of the original novel or
play ; among the most outstanding, recent ex-
amples are Jules Renard’s Poil de Garotte
and Pearl Buck’s The Good Earth. Many

Western plays that have been filmed have

been translated into Japanese and many of
them are even performed on the stage. In
addition, a few imported movies have been
adapted, dramatized, and performed on the
stage. Popular music composers have acquired
some of the new American and French theories
of composition. A large measure of adaptation
from the musical films has been tried on the
revue stage. As for the improvement of wom-
en’s Western style dress and toilet, one has
only to recall those of a few years ago.
What an incredibly rapid change !

Thus European and American films have
exerted a powerful influence on the Japanese,
translating the new trends of the world, and
giving a quick tempo to the life of the people.
But it must not be assumed for a moment
that those imported movies have changed the
whole mode of Japanese life, or that the people
have become indiscriminately Westernized in
their character and spirit. All that has taken
place is the widening of the mental horizon by
means of critical selection. Those elements
which have been chosen are assimilated into
native fashion in conformity with the culture,
society, customs and current conditions of the
country. Japanese men wear Western-style
hats with their kimono and yet look perfectly
natural. That is a good illustration of how
things Western are being absorbed by Japan.

53

I M P

NUMBER OF FILMS
(by original countries)

FILMS

B

IN 19 3 7

| Number of

films (by distributing companies)

r£a

unmount C

O

ONTTED

JLRTISTS

O

C

W)

w

Others

O

i

e

L jHrn(0-{

_j A

O

(t

2ir^s\

O

•

•

:<

K

^loo

0

>«i ■ Ti

NIPPON

O

■m 0

Others

•

Total

237

48

J. S. A. ^23^

II France ©

©

Germany

©

England

@

Austria

©

Czechoslovakia

o

Switzerland

O

Italy

O

54

Robert Florey

The best Japanese picture that I have seen, and one of the best pictures that I have seen in my life, is
Chushingura. Denmei f Japanese actor, now lives in Hollywood^) and Shigeyoshi Suzuki took me to see that
picture during my 1934 trip to Japan. This picture should have been cut down a little, and then shown all
over the world. It was not, though it was a cinematic masterpiece. Three years later, in 1937, I found that
Kyoto-made classical pictures had progressed naturally, but that modern dramas and comedies made in 1'okyo seemed
all to be of the same pattern and construction. The comedies especially had not progressed —they still looked as
though they had been in a great hurry and for very little money. I saw six modern comedies — the quality of
the sound and photography were far from outstanding, and thus far below the high standards achieved in such
classical dramas as The Summer Battle of Osaka, or that marvellous picture made in Korea, The Journey by
Shigeyoshi Suzuki.

I was not very much impressed by
Arnold Fancies attempt to internation-
alize Japanese movie art in his picture
The New Earth (or The Daughter
of the Samurai J The picture was
extremely well photographed and mounted
and was technically good, but somehow
the story did not seem to reach the goal
which Fanck seemed aiming for. There
was too much scenery in the picture and
also too many ideas, which created a
confused medley of beauty, drama, propa-
ganda and travel. If a Japanese producer
as well educated and as continental as
Nagamasa Kawakita wishes to produce a
picture to be shown the world over, he
should choose either a colourful Kabuki
play, easily understandable by all nations,
or a subject known to all countries,
such as “ Madame Chrysantheme ”

(O-Kiku -san j) or “Butterfly” (O-Cho
FujiiF). If a singing Butterfly is not
to be found in Japan, the scenario of
this opera is interesting enough to justify
the making of a plain drama based
on the same story but without songs
or music.

Korea and Manchoukuo could also be
exploited to advantage for the making

55

of pictures for the world’s markets. A very interesting drama could be made out of the life of the White Russians
of Harbin. Such pictures as Koi Yamabiko (jNikkatsu Historical Movie) or Osaka Natsu no Jin f The Summer
Battle of Osaka) made first in an original full-length Japanese version, then condensed to a shorter version,
or eventually MADE IN TECHNICOLOUR for the rest of the world would bring millions of yens of profit to
the Japanese producers.

A star such as the great Tsumasaburo Bando, one of the greatest actors that I have ever had the
privilege of seeing, would be as well known in Berlin, Paris or New York as he is in Japan if properly ex-
ploited. Other actors and actresses that I have thought might have great international appeal are : (^Actors)

/\

Isamu Kosugi (^Nikkatsu), Chiyezo Kataoka (jNikkutsu), Denjiro Okochi (jToho) ; (^Actresses) Noboru
Kiritachi (JToho), Chikako Hosokawa (JToho), Kinuyo Tanaka (Ehochiku), Naoe Eushimi (jShochiku),
Yumeko Aizome (jShinko), Isuzu Yamada and Takako Irie (Holio).

I found Japanese educational pictures extremely interesting. By that I mean pictures of the type directed
by Suzuki ; The School, for instance. I saw several short travelogues throughout Japan and they were very
well photographed, but the numerous news-reels that I saw always seemed badly photographed and certainly
too noisy. They were also rather badly cut.

One of the things which amazed me, during this last visit, was the fact that most of the companies that I
saw shooting in the different studios were shooting silent scenes, or long shots of people talking TO BE SYN-
CHRONIZED LATER ON, which made me understand why so many scenes in the Japanese films seem to be
“ out of sync ”. I know that this way of making pictures is the most economical, but the fact that most of
these silent scenes are CRANKED BY HAND BY THE CAMERA-MEN explains the CHANGE OF SPEED
which is so noticeable during the projection of the Japanese films. Very often the actors go so fast that one
knows the camera-man was undercranking by hand instead of turning his camera with a motor. This technical
carelessness appears especially in the “ modern comedies ” made in Tokyo. These comedies, often inspired by
the now extinct American slap-stick type, are old-fashioned and out-dated. I believe whatever little money is
spent in the making of these Sennett-iike comedies could be spent to better and more intelligent advantage.
However, this is only my opinion.

It is difficult for the Japanese people and critics to judge the merits of their own pictures because these
pictures are the reflection of their own life. The modern pictures made in Tokyo and the classical pictures made
in Kyoto are all essentially Japanese — the stories are Japanese, the setting are Japanese, the costumes are Japanese
and the artistry is Japanese. The people of Nippon have taken a great liking to the American and the European
films because the foreign people, settings and stories take them beyond their own boundaries and give them an
opportunity to glimpse the rest of the world and to study the habits and customs of the other peoples of the
earth. The Japanese intelligentsia take the Japanese pictures for granted, and the Japanese producers do not seem
to make any special effort to internationalize and commercialize their product with an eye to some foreign release.

In any city, village or hamlet the photographic eye of the visiting tourist is caught by the inexhaustible
supply of scenic beauty which Japan offers — the men perched high on their turning wheels watering the rice
fields, the peasants at work with their oxen, the pilgrims, the women picking up the vegetables, the kids play-
ing around the houses, the paper carp floating in the air, the school girls walking down the street, the geishas
in their lovely costumes, the woodmen pulling their carts, the babies dressed like dolls, the priests about the
temples, the quaint costumes of some of the inhabitants of the villages, the old great-grandmothers carrying the
newly born babies on their backs, the merchants in the small open markets, the “ clickety -clack ” of millions of
wooden clogs, the same footgear, delightful in colouring, exposed in the store fronts like millions of appetizing
pastries, the man selling bananas at auction, the students in uniform, the little antique shops, the doll makers,
the mask-makers, the sword and knife sellers, the bosses of the silk shops and their many young apprentices, the
friendly animals, the singing birds, the fat wrestlers, the fishermen, the amazing boys riding on bicycles while
carrying pyramids of dishes on one hand, the girl conductors of the buses who talk like birds, the gentle beggars,
the street musicians with baskets on their heads, and a thousand other sights offer a constant supply of charm,
beauty and photographic material. Of course, the Japanese people cannot realize the interest of all these things,

56

4

ROBERT FLOREY AT A TOHO STUDIO

because they are accustomed to them, because they live among them, and so do not see them, or, which is
the same thing, take them as part of life and pay no attention to them.

The people of the world are anxious to see new things and to learn. Japan has always fascinated not only
the artists of the world but the lovers of beauty. Japanese moving pictures made for foreign consumption could
easily be sold abroad, and if only half a dozen Japanese pictures could be exhibited each year on all foreign
screens, they would be a great source of profit to the Japanese producer. These profits would enable them to buy
more and more modern equipment - • • • booms, cameras, new sound -recording devices, lights, and many other
things which are improved upon each year. A proof that European people, for instance, are anxious to see
Japanese pictures is the fact that they have engaged Sessue Ilayakawa to star in and to produce films

with a Japanese background in Paris. Such pictures as Yosliiwara ( Milo-Film, France j are banned in Japan.
IIow can the atmosphere of Nippon be reproduced correctly in BILEANCOURT ? But it shows that the
public of France wants to see Japanese dramas, played by Japanese actors. Why not sell the real Japanese-
made pictures in Europe with super-imposed titles, a very little Japanese dialogue and some interesting Japanese
music for a background ?

Here is one more thing that I would like to suggest : Would it be possible to make an arrangement

whereby all the Consuls of Japan in foreign countries should, when a tourist applies for a visa, make inquiries

regarding the personality of the traveller, and either GIVE him or REFUSE him a SPECIAL AUTHORIZATION
which would enable the visitor to Japan to carry with him a i6m.m. camera, and to photograph the

lovely scenery, the people, and the cities of Japan without being molested or at least annoyed by some too
zealous inquisitors ? The tourist would then either be accepted as an honourable person just wishing to get some
interesting views of his travels and later on use these views as a means of propaganda for Japanese “ tourism ”,
or considered as an undesirable or suspicious character and refused the privilege of bringing a camera into
Japan. This would greatly help the touristic relations and improve Japanese tourist propaganda throughout
the world.

57

APPENDICES

MOTION-PICTURE CHRONOLOGY-1937

JANUARY

The Utaemon Production was dissolved, and Utaemon Ichikawa
entered by himself the Jidai-gel^i section of the Shinko Kinema.

Sessue I-Iayakawa left for France to take part in a Milo-
Film production, Toshnvara, a cinematization of a story by
Maurice Dekobra, co-starring with P. Richard-Wilm and Michiko
Tanaka.

Arrangements were completed for Mr. Haruo Rondo’s trip
abroad, in his capacity of General Secretary of the International
Cinema Association, in order to represent Japan at the Venice
Cinema Exposition and Paris International Cinema Conference.

The Shochiku Kinema Kabushiki Kaisha and the Shochiku
Kogyo Kabushiki Kaisha were annexed into a new Shochiku Kabu-
Shiki Kaisha.

* *

* *

Important films released during January:

(domestic)

Hana\ago no Uta (Song of the Flower-Basket, Shochiku)

Hanayome Karuta (The Bride’s Game of Cards, Shochiku)

Koichi T anbei (Nikkatsu)

Jonin Axshii (Pity of Being Women, P.C.L.)

(imported)

San Francisco (M.G.M.)

Swing Time (RKO)

The Beloved Vagabond (Toeplitz Production)

Club de Femmes (S.E.L.F., France)

FEBRUARY

Plans were completed for the establishment of a cinema com-
pany under the Government auspices of Manchoukuo, with a
capital of 5,000,000 yen; production to commence in April.

The world premiere of T he AJeu; Earth, a German-Japanese
joint production under Dr. Arnold Fanck, was held on February
3, at the Imperial Theatre, Tokyo. The occasion was graced
by the presence of several Princes and Princesses of the blood.

The Cultural Films Department of Shochiku (Ofuna) opened
anew a Cinema Advice Bureau to answer all inquiries and requests
of film-producers in general.

Minoru Takada, who had dissolved his own production company,
joined the Gendai- ge\\ staff of the T6ho (P.C.L.). Joji Oka also
entered the P.C.L., having resigned from the Nikkatsu.

The Japan Motion Picture Directors Association held a pre-view
of Sobo (These People), a Nikkatsu production directed by Hisatora
Kumagai, which was followed by a discussion of the production
plans, the artistic quality, etc., of the work.

* *

* *

Important films released during February :

(domestic)

K 6)6 no Tsu\i (The Moon Over the Ruins, Shochiku)

Shu\ujo wa T^ani o Wasureta h.a (What Did the Ladies
Forget?, Shochiku)

Sobo (These People, Nikkatsu)

Kinno Ina\a Samurai (Loyal Country Samurai, Shinko)
Sengo\u Gunto Den (An Epic of Civil War Robbers, P.C.L.)
Atarashx\i Tsuchi (The New Earth, distributed by the Dr.
Fanck Production)

(imported)

Anthony Adverse (W.N.)

A Tale of Two Cities (M.G.M.)

Episode (Tobis-Sascha)

MARCH

Prospectus and scheme were decided upon for the Manchoukuo
Cinema Association, an organization for the control of Manchurian
motion-pictures.

Setsuko Hara, actress, Hisatora Kumagai, director, Mr. Naga-
masa Kawakita, President of the Towa Shoji, and Mrs. Kawakita
left for Europe, Miss Hara being scheduled to address the audience
at the premiere of The 7\[ew Earth in Berlin on March 26.

After careful considerations, Kojd no T su\i (The Moon Over the
Ruins) (Shochiku Gendai-ge\i ) was selected by the International
Cinema Association as the exhibition piece at the 1937 Internationa!
Grand Exposition of Paris and the Cinema Exposition of Venice.
It was decided to re-edit the film at the Cinema Association before
exportation.

The rivalry between the “Four-Company Combine” (Sho-
chiku, Nikkatsu, Shinko, Daito) and the Toho became so severe
that the Combine issued a notification to the theatres belonging
to their system to refuse the inclusion of Toho productions in
their bills.

The Makina Talkie was dissolved on account of financial
difficulties.

* *

* *

Important films released during March :

(domestic)

Mori no Ishimatsu (Nikkatsu)

Karayu\i-san (P.C.L.)

(imported)

Gay Desperado (U.A.)

The Iron Duke (G.B.)

The Plainsman (Paramount)

La Kermesse Hdro'fque (Tobis)

Charge of the Light Brigade (W.N.)

Gold Diggers of 1937 (W.N.)

Tarzan Escapes (M.G.M.)

Winterset (RKO)

APRIL

The Japan Motion Picture Directors Association sponsored a
gathering to commemorate its first anniversary, featuring movies
and lectures. Awards were given to the following:

Kenji Mizoguchi, director of Gion no Kyodai (Sisters of
Gion), as the outstanding production of the year.

Isuzu Yamada, Shinko actress ; Isamu Kosugi, Nikkatsu actor;
Reikichi Kawamura, Shochiku actor — 1936 Awards for superior
acting.

58

Sumiko Kurishima retired from the screen. A veteran actress
of the Japanese screen, she gave up her cinema career with the
completion of Shu\ujo wa AJani o Wasureta \a (What Did the
Ladies Forget?) and announced that she would devote herself to
the dance.

The Tokyo Hassei (Tokyo Sound Film Company) disassociated
itself from the Nikkatsu and signed a contract with the Toho.

The total number of cinema spectators during 1936 was an-
nounced as 202,650,000 by the Ministry of Home Affairs.

* *

* *

Important films released during April :

(domestic)

Osa\a AJatsu no /in (The Summer Battle of Osaka, Shochiku)
Shu to Midori (Vermilion and Green, Shochiku)

Asano Ta\umi no Kami (Nikkatsu)

Otto no Teiso (The Husband's Chastity, P.C.L.)

(imported)

Garden of Allah (U.A.)

Rembrandt (U.A.)

Three Smart Girls (Universal)

Lost Horizon (Columbia)

Un Grand Amour de Beethoven (General Production)

Le Bonheur (Pathd-Natin)

La Belle Equipe (Frys)

Nocturno (Mawa-Otsoup, Austria)

Primaher (A.B. Film, Czecho-Slovakia)

MAY

The Regulations for Inspection of Motion- Picture Films
(Departmental Ordinance of the Home Office) was partially re-
vised. The revised Regulations were promulgated in Ordinance
No. 19 on May 24 and became effective on the same day. According
to the revised Regulations, the fee for inspection of imported films
was raised by 50% (i. e., one and half sen as against the previous
one sen) ; fee is exempted on certain specified classes of home
productions such as cultural, educational, scientific, documentary
films and such recreational films as are recommended by the
authorities.

Mr. Ichizo ICobayashi resigned his presidency of the Toho
Eiga Haikyu Kaisha.

The Japan Motion-Picture Association elected its new officers.
The Kokusai Gekijo (Shochiku management, for revue and
cinema) was opened in Asakusa, Tokyo.

* *

* *

Important fdms released during May :

(domestic)

Hada\a no Machi (The Naked Street, Nikkatsu)

Tabiji (The Journey, Shinko)

Kumd no Uta (Song of the Bear, Shinko)

Kol{y6 (The Native Country, J.O.)

Yoru no Hato (Night Pigeon, J.O.)

Ok_u-sama ni Shirasu Bel^ara zu (Don't Let the Madam Know.

Shfichiku)

Gendai T^ippon (Japanese Life, International Cinema Associa-
tion) (imported)

Fury (M.G.M.)

Romeo and Juliet (M.G.M.)

Maid of Salem (Paramount)

Justin de Marseille (Pathd-Natin)

Tagebuch der Geliebten (Tobis-Sascha)

JUNE

The Daito Eiga launched upon an active programme of sound
film production, for which the Kono-tone system (domestic patent)
is to be used.

The Imai Production came into being in Kyoto. It belongs

to thd Toho interests, and specializes in ]idai- ge\i ; capital 200,000
yen, President, Mr. Risukd Imai.

Denjiro Okochi, star of the Nikkatsu Kyoto Studio, entered
the J.O. Studio.

Shinjitsu Ichiro (Truth, the Only Way), a Nikkatsu production,
was exempted of inspection fee, as a particularly wholesome
and excellent motion picture.

A joint announcement was issued by the Directors’ Association
and the Writers’ Association for the ultimate purpose of securing
copyrights on cinema scenarios.

Minoru Miki, cameraman of T^aniwa Elegy and Gion no Kyo-
dai, was awarded recognition by the Technicians’ Association.

The three associations, respectively of directors, scenario-
writers and cameramen, were united into one organization.

Mr. Minoru Murata, one of the veteran directors, died on
May 26. In the days of silent films he produced masterpieces like
Seisa\u no Tsuma (Seisaku’s Wife), Machi no T ejinashi (Street
Juggler) and Kaijin (Ashes) ; of his talkie productions, M ute\i
(Flute in the Mist) is the best. The last piece he directed was
Sa\ura no Sono (The Cherry Orchard, Shinko).

* *

* *

Important films released during June:

(domestic)

Shinjitsu Ichiro (Truth, the Only Way, Nikkatsu)

Miyamoto Musashi (Nikkatsu)

Yoshida Goten (Yoshida Mansion Shinko)

A i-En-Kyd (The Valley of Love and Sorrow, Shinko)
(imported)

Marked Woman (W.N.)

You Only Live Once (U.A.)

Ladies in Love (2oth-Fox)

As You Like It (London-Film)

Swing High, Swing Low (Paramount)

Marysa (Monopolfilm, Czecho-Slovakia)

JULY

The number of films released during the first half of 1937
amounted to 445 — 1 63 Japanese, 282 foreign.

The Sino-Japanese Conflict broke out.

The Dai Nippon Cocco Yushitsu Eiga Seisakusho was estab-
lished: Office, Sunamoto Building, Yuraku-cho. Kojimachi-ku,
Tokyo; representative, Mr. Takeo Ogasawara. Affiliated with the
Tobis Company, Germany, it specializes in producing films for
export purposes ; its personnel includes Richard Angst, cameraman,
W. Loe Bargier, director.

The Exchange Control Section of the Exchange Bureau,
Ministry of Finance, invited importers and distributors of foreign
films and advised them to diminish the quantity of import.

Mr. Haruo Kondo (General Secretary of the International
Cinema Association) attended, as observer, the International Cinema
Conference in Paris.

Kojo no Tsu\i (The Moon Over the Ruins), Poterie
Japonaise and L'Art Japonaise des Fleurs were exhibited publicly
in Paris.

Mr. Robert Florey, Paramount director, came to Japan.
Cinema companies began formulating plans for producing
military movies, a reflection of the Sino-Japanese situation.

» *

* *

Important films released during July:

(domestic)

Koi mo Wasurete (Even Forgetting Love, Shochiku)

Kon’ya\u Sanba Karasu (The Engaged Three, Shochiku)
Tsjanpu Satsuma Uta (Shinko)

T^adare (Avalanche, P.C.L.)

T o\aido wa Js[ippon-Bare (All Clear in the Tokai Skies, J.O.)
Cha^iri Kinta (P.C.L.l

59

(imported)

Men Are Not Gods (U.A.)

After the Thin Man (M.G.M.)

Lo Squadrone Bianco (Roma Film)

Die Ewige Maske (Progressfilm)

Le Golem (Philip, France)

AUGUST

A new section was opened in the Shochiku Ofuna Studio for
producing military films.

The Home Office authorities and the Japan Motion- Picture
Association agreed to guard against the manufacture of inferior
military films.

The “ Six-Company Combine ” of the Toho concern seceded
from the Japan Cinema Association.

The Division of Film Education in the Seventh World Con-
ference of the International Education Associations, held in Tokyo,
held its sessions in the auditorium of the Meiji Seimei Kan, Tokyo.

The Manchoukuo Cinema Association was founded, with a
capital of 5,000,000 yen.

Foreign film importers and distributors petitioned the Ministry
of Finance to mollify the import restrictions.

It was learned that Un Carnet de Dal won the Mussolini
prize at the Venice Cinema Exposition, and the Japanese exhibit,
Kojo no Tsu^i was given recognition for excellence.

* *

* *

Important films released during August :

(domestic)

7\[injo Kami-Fusen (Paper Balloon, P.C.L.)

Oto\o no Tsugunai (Reparation of a Man, Shochiku)
(imported)

L’homme de Jour (Marquis, France)

Courrier Sud (Pan-Cine)

Rapt (Mentor Film, France)

Camille (M.G.M.)

Michael Strogoff (RKO)

SEPTEMBER

The Toho trust organized itself into a new, united and larger
company. The Toho trust which had included the P.C.L. Cinema
Production, Photo-Chemical Laboratory, Toho Motion-Picture
Distributing Company and their affiliated companies, Tokyo Takara-
zuka Theatre Co. Ltd., and J.O. Studio, organized them all into
the new Toh6 Cinema Company, Ltd. One million yen was added
to the capital, totalling 4,500,000 yen.

The Home Office authorities held a conference with cinema
and record business people on the problem of inferior movies and
records pertaining to the current warfare.

Army authorities and cinema people discussed problems per-
taining to the manufacture of films dealing with warfare.

The export of news-films had increased greatly: the total of
news film exports during July and August was 261 reels, 34,930
mm., of which 149 reels (19,370 mm.) had to do with the current
Sino-Japanese Conflict.

The Ministry of Justice commenced investigating the question
of film copyright. The copyrigt had been defined in the Copyright
Law, together with the copyright with reference to literature and
the arts, all under the control of the Home Office. Because of
the peculiar nature of the cinema, the Ministry of Justice decided
to investigate the situation.

Embargo on the importation of foreign films became effective.
The Ministry of Finance had been advising the dealers to limit
the importation because of the urgency of foreign exchange control,
but finally it decided to prohibit the import during the year 1937,
except for news films.

The director of the Shinko Oizumi (Tokyo) Studio was

changed. The new director is Mr. Osamu Rokusha, formerly
Vice-Director of the Shochiku Ofuna Studio.

The Manchoukuo Cinema Association established a branch
office in Tokyo.

T eh\o\u Koful{ u (The Enemy Surrenders), a Shochiku Shimo-
kamo production, was exempted from inspection fee.

* *

* *

Important films released during September:

(domestic)

Kogen no Tamashn (The Soul of a Prairie, Nikkatsu)

Mama no Endan (Mama’s Marriage Proposal, Shochiku)

T e\\o\u Kofultu (The Enemy Surrenders, Shochiku)
Utsu\ushifii Ta\a (A Beautiful Hawk, Nikkatsu, Toho, Shinko)
Doto 0 Kette (Over the High Seas, Toho)

(imported)

High, Wide and Handsome (Paramount)

Make Way for Tomorrow (Paramount)

Jalna (RKO)

Stowaway (aoth-Fox)

Der Student von Prag (Tobis)

Port Arthur (Tobis)

OCTOBER

Chojiro Hayashi, star of the Shochiku (Kyoto), signed a
contract with the Toho.

Plans for shortening performance hours were revealed by the
Home Office to theatre people. The reasons given by the Home
Office are the improvement of domestic productions, economic use of
film, hygienic considerations for the spectators. A discussion was
held between the authorities and theatre business representatives.

German-Japanese Cultural Film Exchange Agreement was
formally signed by Dr. Lehnig of the Propaganda Ministry of Ger-
many and Viscount Sukekuni Soga, President of the International
Cinema Association of Japan.

The News Films Section of the Domei was enlarged, the new
prospectus including the production of the Domei Flews, the pro-
duction of cultural and documentary films based on national princi-
ples, and the preparation of propaganda films for export abroad.

Part of the Toho Tokyo Studio (Seijo, Setagaya-ku) was
burned.

* *

* *

Important films released during October:

Hanagata Senshu (Champion Athlete, Shochiku)

Mit o Komon Kaiyul^i (Travelogue of Mito Koinon, Nikkatsu)
Shinsen-gumi (Toho)

Gonza to Su\eju (Gonza and Sukeju, Toho)

(imported)

Souls at Sea (Paramount)

Shall We Dance (RKO)

Seventh Heaven (zoth-Fox)

L’homme de Nalle Part (Gdndral Production)

Verrater (UFA)

NOVEMBER

Mr. Tom D. Cockrain, Far Eastern General Manager of the
Paramount, died.

In accordance with the German-Japanese Cultural Film Ex-
change Agreement, the Germany Cinema Academy and Japan-
German Society held a joint exhibition of films on November 11,
at Gloria Palace in Berlin. The Japanese films shown were A
Glimpse of Japan, The Primary Schools in Japan and Kojo no
Tsu\ 1 (The Moon Over the Ruins).

Construction of large theatres was prohibited by the Emergency
Construction Act, which was followed immediately by a series of
applications for permit for the building of a maximus capacity

60

theatre within the limits of the new Act — 750 persons. The
majority of the 750-seating theatres are projected for the showing
of news and cultural films.

Mr. Tokusaburo Kawai, President of the Daito Cinema Co.,
Ltd., died.

* *

* *

important films released during November:

(domestic)

Kaze no na\a no Kodomo (Children in the Wind, Shochiku)
Kagiri n a\i Zen shin (Forward Fcrever, Nikkatsu)

Wa\ai Hito (Young People, Tokyo Hassci)

(imported)

The Good Earth (M.G.M.)

Dodsworth (U.A.)

Green Pastures (W.N.)

Les Bas-Fonds (Albatros, France)

DECEMBER

New regulations related to the performance hours and film
lengths of one run were formally published in Departmental Ordi-
nance No. 55 by the Home Office. According to the new regula-
tions, th e hours for one run are limited to three, and the maximum
length 4,500 mm. (silent) and 5,000 mm. (sound).

Regular showing became permissible in office buildings and
department-stores. The Section of Public Peace of the Metropoli-
tan Police revised its “ regulations regarding the establishment of
auditorium in upper stories ”, making possible the regular exhibition
of movies in high buildings and auditoriums of department-stores.

Mr. J.E. Berkins, manager of the Shanghai Branch, was elect-
ed Far Eastern General Manager of the Paramount. .'The Far
Eastern Headquarters are expected to be shifted from Tokyo to
Shanghai. 3m

Mr. Kakutaro Kawai,. son and heir of the late Mr. Kakuf
saburo Kawai, was elected President of the Daito, succeeding his
father.

* *

* *

Important films releasd during December :

(domestic)

Asa\usa no Hi (Lights of Asakusa, Shochiku, Ofuna)
Tasogare no Mizuumi (The Lake in Twilight, Tolio, Tokyo)
(imported)

Saratoga (M.G.M.)

Topper (M.G.M.)

On the Avenue (aoth-Fox)

La Porte du Large (Sedif)

Au Nom de la Loi (Pathd-Natin)

Truxa (Tobis-Magna)

MOTION-PICTURE ENTERPRISES IN JAPAN

DAITO EIGA C0„ LTD. (Daito Motion Picture Co., Ltd.)

Daito Building, No. 2, Ginza i-Chome, Kyobashi-Ku, Tokyo
Capital : ¥700,000

President : Tokusaburo Kawai, Jr.

Chief Managing Director : Ryusai Kawai
dumber of Directors : 8

Number of Cameramen : 7

„ Actors : Male 268, Female, 172, Juvenile 10

“ DAITO SUGAMO STUDIO ”

No. 445, Nishi-Sugamo 4-Chome, Toshima-Ku, Tokyo
Manager : Ryusai Kawai

Head of Accountants Department : Masao Koshio
Site of Studio : 4,000 tsubo*

Stages : 5 stages (1 of 300 tsubo, 2 of 100 tsubo, 2 sound

recording stage of 100 tsubo)

(* 1 tsubo is 3.305 square metres.)

Sound Recording System : Daito System

Cameras : Akeley 1, Parvo 5, Howell 7, Eyemo 3, High Speed
Eyemo 1

Equipment of Electric Power : Alternating current 400 KW

Continuous current 200 KW
Amount of Consumed Electric Power : 30,000 KW (Month)

Number of Property-men : 26

,, Dressers : 10

Hair-dressers : 18

KYOKUTO EIGA C0„ LTD. (Kyokuto Motion Picture Co., Ltd.)

No, 3, Rokuban-Cho, Naniwa-Shinchi, Minami-Ku, Osaka
Capital : ¥500,000

President : Masahiko Ushizukuri

“KYOKUTO FURUICHI STUDIO"

No. 385, Furuichi-Machi Karunosato, Minami-Kochi-Gun, Osaka
Manager : Yujiro Hashiba
Site of Studio : 8,000 tsubo

Stages : 2 stages

Equipment of Electric Power : Alternating current 200 KW
Sound Recording System : Adachi System
Number of Directors : 5

„ Scenario Writers : 3

„ Cameramen : 2

„ Actors : Male 142, Female 22, Juvenile 2

NIPPON KATSUDO SHASHIN CO., LTD. (NIKKATSU) (The Nippon Motion
Picture Co., Ltd.)

No. 11, Kyobashi 3-Chome, Kyobashi-Ku, Tokyo
Capital : ¥8,000,000

President : Sakichi Morita
Vice-President : Teiji Tanaka
Number of Directors : 23

„ Cameramen : 18

„ Actors : Male 216, Female 105, Juvenile 20

“ NIKKATSU TAMAGAWA STUDIO ”

No. 603, Nunoda Kojimabun, Chofu-Machi, Kitatama-Gun, Tokyo
Manager : Kan’ichi Negishi
General Manager : Shoshi Ashida
Site of Studio : 10,500 tsubo

Stages : 5 (2 stages of 250 tsubo for talkies, 2 stages of 360 tsubo

for talkies, 1 sound recording stage of 100 tsubo)

Sound Recording System: Western Electric sound System, MNK
System

Cameras : Mitchell 4, Bell & Howell 6, Parvo 2, Eyemo 5
Equipment of Electric Power : Alternating current 1,500 KW
Amount of Consumed Electric Power : 60,000 KW (Month)

Directors : Tetsu Taguchi, Tomotaka Tasaka, Tomu Uchida,
Bunjin Kurata, etc.

Scenario Writers : \roshio Aramaki, Noriko Suzuki, Tetsu Suyama,
Ryozo Kasahara

Cameramen : Tatsuyuki Y^okota, Kohei Uchida, Seigo Kiga, Michio
Midorikawa, Kazue Nagatsuka, Saburo Isayama, Soichi Aisaka, etc.
Number of Actors : Male 95, Female 55, Male juvenile 5, Female
juvenile 1 1

Number of Property-men : 42

„ Dressers : 1 1

„ Hair-dressers : 7

“NIKKATSU KYOTO STUDIO"

61

No. 14, Uzumasa Oyabu-Machi, Ukyo-Ku, Kyoto
Manager : Heiji Fujita
General Manager : Seishi Soga
Site of Studio : 10,000 tsubo

Stages : 5 stages (1 of 400 tsubo for silent pictures, 4 of 200

tsubo for talkies)

Sound Recording System : Western Electric Sound System, MNK
System

Cameras : Mitchell 3, Eclaire 1, Parvo 3, Howell 4, Eyemo 1
Equipment of Electric Power : Alternating current 300 KW

Continuous current 400 KW
Amount of Consumed Electric Power : 60,000 KW (Month)

Directors : Kichiro Tsuji, Ryohei Arai, Tomiyasu Ikeda, Hiroshi
Inagaki, Masahiro Makino, etc.

Scenario Writers : Yoshio Takakuwa, Itaro Yamakami, Natsuo
Koiso, Taisaku Ino, etc.

Cameramen : Teizo Matsumura, Seishi Tanimoto, Hideo Ishimoto,
etc.

dumber of Actors : Male 90, Female 35, Juvenile 4
„ Property-men : 47

„ Dressers : 7

„ Hair-dressers : 10

SHINKO KINEMA CO., LTD.

No. 3, Hatchobori 2-Chome, Kyobashi-Ku, Tokyo
Capital : ¥4,250,000

President : Shintaro Shirai
Vice-President : Shiro Kido

Chief Managing Director : Kozaburo Miyakawa
Number of Directors : 25

„ Cameramen: 14

„ Actors : Male 221, Female 123, Juvenile 45

“ SHINKO TOKYO STUDIO ’’

No. 1034, Higashi-Oizumi-Machi, Itabashi-Ku, Tokyo
Manager : Osamu Rokusha
Site of Studio : 40,500 tsubo

Stages : 6 stages of 200 tsubo for talkies, 1 sound recording stage

of 100 tsubo

Sound Recording System: Mohara System Shinko Phone
Cameras: Mitchell 3, Eclaire 3, Bell & Howell 6, Parvo n,
Eyemo 3

Equipment of Electric Power : Alternating current 560 KW
Amount of Consumed Electric Power : 26,000 KW (Month)

Directors : Seiichi Ina, Kenji Mizoguchi, etc.

Scenario Writers : Mitsu Suyama, Bin Kisaragi, Shuichi Hatamoto,
Tokusaburo Murakami

Cameramen : Jun’ichiro Aoshima, Koichi Yukiyama, etc.

Number of Actors ; Male 120, Female 78, Male juvenile 28,
Female juvenile 16
Number of Property-men : 89

., Dressers : 9

„ Hair-dressers : 7

“ SHINKO KYOTO STUDIO ”

No. 9, Uzumasa Hachigaoka-Machi, Ukyo-Ku, Kyoto
Manager : Masaichi Nagata

Site of Studio : 9,700 tsubo

Stages : 6 stages (1 of 200 tsubo, 1 of 150 tsubo, 1 of 120 tsubo,

for talkies, 3 of 150 tsubo for silent pictures)

Sound Recording System : Mohara System

Cameras : Mitchell 1, Parvo 1, Eclaire 2, Howell 1, Eyemo 3,
Moviola 1

Equipment of Electric Power : Alternating current 450 KW
Amount of Consumed Electric Power : 55,000 KW (Month)

Directors : Taisuke Ito, Akira Nobuchi, Kazuo Mori, etc.
Scenario Writers : Fuji Yahiro, Giken Yoda, Ken’ichiro Hara
Cameramen: Minoru Miki, Tsunejiro Kawasaki, etc.

Number of Actors : Male 101, Female 45, Juvenile 6
„ Property-men : 36

„ Dressers : 5

Number of Hair-dressers : 6

SHOCHIKU C0„ LTD.

No. 5, Shintomi-Cho 3-Chome, Kyobashi-Ku, Tokyo
Capital : ¥38,000,000

President : Takejiro Otani

Managing Directors : Tadasuke Machida, Shiro Kido, Shintaro
Shirai, Tomojiro Tsutsumi, Isaburo Inoue, Yoshitaro Kishi,
Shigemasa Ino, Gennojo Okubo, Rvozo Mishima, Shuichi
Tanaka

Distribution : Theatres under direct management: 29

„ Theatres under special contract : 289

., Theatres under percentage contract : 322

Number of Directors : 21

„ Cameramen: 17

,, Actors : Male 232, Female 127, Juvenile 31

" SHOCHIKU KINEMA OFUNA STUDIO ”

Ofuna-Machi, Kanagawa-Ken
Manager ; Shiro Kido
Site of Studio : 30,000 tsubo

Stages : 7 stages (1 stage of 400 tsubo, 2 of 300 tsubo, 3 of 200

tsubo, 1 of 200 tsubo for sound recording)

Sound Recording System : Tsuchihashi System Shochiku Phone
Cameras : New Mitchell 3, Super Parvo 2, Bell & Howell 13, Howell
12, Eyemo 4, Parvo 4

Equipment of Electric Power : Alternating current 800 KW

Continuous current 75 KW
Amount of Consumed Electric Power: 70,000 KW (Month)
Directors : Yoshinobu Ikeda, Yasujiro Shimazu, Hiroshi Shi-
mizu, Heinosuke Gosho, Keisuke Sasaki, Yasujiro Ozu, Kosho
Nomura, Yasushi Sasaki, Minoru Shibuva, Kenkichi Hara, etc.
Scenario Writers : Kogo Noda, Komatsu Kitamura, Akira Fushimi,
Tadao Ikeda, Ryosuke Saito, Masao Arada
Cameramen : Ko Kuwabara, Atsushi Nomura, Hideo Mohara,
Hiroyuki Nagaoka, Toshio Ubukata, etc.

Number of Actors : Male 116, Famale 82, Male juvenile 8, Female
juvenile 17

Number of Property-men : 34

„ Dressers : 13

“ DAIICHI KYOTO STUDIO OF SHOCHIKU”

No. 127, Shimokamo Miyazaki-Cho, Sakyo-Ku, Kyoto
Manager : Katsumi Shinoyama
Site of Studio : 20,010 tsubo

Stages: 4 stages (1 of 195 tsubo, 1 of 175 tsubo, 1 of 160
tsubo, 1 sound recording stage)

Sound Recording System : Tsuchihashi System Shochiku Phone
Cameras : Parvo (talkie) 3, Mitchell 1, Parvo 7, Eyemo 2
Equipment of Electric Power : Alternating current 700 KW
Amount of Consumed Electric Power : 60,000 KW (Month)

Directors : Teinosuke Kinugasa, Kintaro Inoue, Kosaku Akiyama,
etc.

Scenario Writers ; 4

Cameramen : Kohei Sugiyama, etc.

Sound Operator : Takeo Tsuchihashi
Number of Actors: Male 116, Female 40, Juvenile 6
,, Property-men : 28

„ Dressers and Hair-dressers : 15

“ DAINI KYOTO STUDIO OF SHOCHIKU ”

Narabigaoka, Ukyo-Ku, Kyoto

Officers: Held by the officers of Daiichi Kyoto Studio of Shochiku
Stages: 2 stages (1 of 190 tsubo for talkies, 1 of 200 tsubo for
silent)

Equipment of Electric Power: 15,000 KW (Month)

TOHO EIGA C0„ LTD. (Toho Film Co„ Ltd.)

Matsuda Building, No. 2 Ginza Nishi-5-Chome, Kyobashi-Ku,
Tokyo

Capital : ¥4,500,000

President : Taiji Uemura

62

dumber of Directors : 20

,, Cameramen : 16

„ Actors : 1 6 1

“ TOHO TOKYO STUDIO ”

No. 100 Kitami-Machi, Setagaya-Ku, Tokyo
Manager : Goro Kontaibo
Site of Studio : 12,000 tsubo

Stages : 8 stages (2 of 180 tsubo, 2 of 120 tsubo, 3 of 200 tsubo,

1 of 100 tsubo)

Sound Recording System : P.C.L. System

Cameras : High Speed Mitchell 5, Mitchell for Silent 3, Parvo
5, Bell & Howell 2, Eyemo 4, Dery 1, High Speed Camera 1,
Technicolor Camera 1

Equipment of Electric Power : Alternating current 1,300 KW

Continuous current 30 KW
Amount of Consumed Electric Power : 60,000 KW

Directors: Sotoji Kimura, Kajiro Yamamoto, Mikio Naruse, Eisuke
Takizawa, Hisatora Kumagai, Sadao Yamanaka, Torajiro Saito,
etc.

Cameramen : Hiromitsu Karasawa, Hiroshi Suzuki, Akira Mimura,
Tatsuo Tomonari, Mitsuo Miura, etc.

Scenario Writers : Chikao Tanaka, Uhei Ima, Juro Miyoshi,
Tomoyoshi Murayama, etc.

Humber of Actors : 76

,. property-men : 56

,, Dressers: 12

,, Hair-dressers : 8

•‘TOHO KYOTO STUDIO”

Uzumasa Kaikonomiya, Sakyo-Ku, Kyoto
Manager : Keiji Ueno
Site of Studio : 5,265 tsubo

Stages : 4 stages for talkies, 1 for sound recording

Sound Recording System : R.C.A. Photophone, Jenkins Adea

System

Cameras : Bell & Howell, Mitchell, Parvo, Super Eyemo (Total
■3)

Directors : Mansaku Itami, Kyotaro Namiki, Tamizo Ishida, Ryo
Hagiwara, etc.

Cameramen : Harumi Machii, Kikuzo Kawasaki, Shigeru Miki, etc.
Humber of Actors: 85

,, Property-men : 39

,, Hair-dressers : 6

"TOHO BUNKA EIGA-BU ” (The Cultural Film Department ol Toho Film Co.)

No. 2, Ginza Nishi-5-Chome, Kyobashi-Ku, Tokyo
Capital : Under the Toho Eiga Co., Ltd.

Manager : Eiichi Kanazashi

Head of Proceeding Department : Masanao Ayahe

“ TOKYO J. 0. LABORATORY ”

No. 5, Ginza Nishi-5-Chome, Kyobashi-Ku, Tokyo
Capital : Under the Toho Eiga Co., Ltd.

Manager : Tsuneo Yamaoka

Activities : Developing, printing, superimposing of titles

“ IMAI EIGA SEISAKUJO ” (Imai Picture Production)

Uzumasa Horigauchi-Machi, Ukyo-Ku, Kyoto
President : Risuke Imai
Distribution : By the Toho Eiga Co., Ltd.

Site of Studio : 1,000 tsubo

Stages : 3 stages for talkies

Sound Recording System : Jenkins System, Eion System
Cameras : Bell & Howell 1, Parvo 3
Humber of Directors : 5

„ Cameramen : 5

,, Actors : 150

,, Property-men : 15

,, Dressers and Hair-dressers : 7

Imai Eiga Seisakujo was merged into the Toho Eiga Co., Ltd.,
January, 1938

“ TOKYO HASSEI EIGA SEISAKUJO ” ( Tokyo Sound Picture Production)

No. 391, Setagaya 4-Chome, Setagaya-Ku, Tokyo
Capital : ¥5,000,000

President : Tsutomu Shigemune
Distribution : By the Toho Eiga Co.

Directors : Tsutomu Shigemune, Shiro Toyoda, Yutaka Abe, etc.

Cameramen : Kin’ya Ogura, Joji Ohara

Scenario Writers : Naoyuki Hatta, Yasutaro Yagi, etc.

Site of Studio : 5,000 tsubo

Stages : 1 stage for talkies

Sound Recording System : Pantonal Recording System
Cameras : Mitchell 1, Eyemo 1, Parvo 1, Bell & Howell 1
Equipment of Electric Power : Alternating current 450 KW

Continuous current 10 KW
Amount of Consumed Electric Power : 15,000 KW

Humber of Actors : Male 50, Female 25, Juvenile 3
,, Property-men : 22

„ Dressers : 2

Humber of Hair-dressers : 2

Tokyo Hassei Eiga Seisakujo closed its production, February, 1938

ZENSHO EIGA CO., LTD. (Zensho Motion Picture Co., Ltd.)

Ayameike, Saidaiji, Fushimi-Mura, Ikoma-Gun, Nara
Capital: ¥200,000
President : Tenryu Yamaguchi

“ ZENSHO STUDIO ”

Ayameike Saidaiji, Fushimi-Mura, Ikoma-Gun, Nara
Manager : Tenryu Yamaguchi
Site of Studio : 6,250 tsubo

Sound Recording System : Zensho Phone
Cameras : Parvo 3

Equipment of Electric Power : Alternating current 120 KW
Amount of Consumed Electric Power : 5,500 KW (Month)

Humber of Diretors : 3

„ Cameramen : 3

„ Property-men : 21

„ Dressers : 3

„ Hair-dressers : 4

CULTURAL FILMS

Number of cultural films produced in 1937 287

(Sound films. ... 232, Silent films ....55)

Classified list :

Army and Navy 49

Tourism 47

Education 45

Industry 33

Documentary 30

Cartoons 22

Advertising 19

Sports 9

Manners and Customs ... .8

Sanitation 7

Amusements 6

Science 5

Art 3

Politics 2

Music 2

63

List of cultural films producers:

The Tokyo Asahi, The Osaka Asahi Shinbun-Sha ; The Osaka
Mainichi, Tokyo Nichi Nielli Shinbun-Sha; Nippon Denpo Tsushin-
Sha (Dentsu) ; The Hochi Shinbun-Sha; The Yomiuri Shinbun-
Sha; Domei Shinbun-Sha. Shochiku Co., Ltd.; Nippon Katsudo
Shashin Co., Ltd. (Nikkatsu) ; Toho Bunka Eiga-liu (Toho Docu-
mentary Film Department) ; Tokyo Sound Picture Production ;
Fukada Shokai ; Geijutsu-Eiga-Sha ; Iwamoto Yoko ; Kaji Shokai ;
Manchoukuo-Eiga-Sha ; Oku Shokai ; Okuda Shokai ; Sato Cartoon
Production; Too Sound News Production, Ltd.; Tokyo Cinema
Shokai; Tokyo Bunka-Eiga Kenkyusho ; Yokohama Cinema Shokai.

PRODUCTION OF NEWS-REELS

ASAHI WORLD NEWS

fThe Tokyo Asahi Shinbun-Sha.
iThe Osaka Asahi Shinbun-Sha.

Founded: March, 1933.

Issued: Weekly (on Thursday).

Number of Reels : 1 reel a week.

Number of Prints: 130 prints per film.

Foreign Companies under Special Contract : Fox-Movietone
(U.S.A.), UFA (Germany), Luce (Italy).

Cameras: Mitchell 1, Banberg 1, Parvo 1, Eyemo 6, Akeley 1,
(Fox Co. in Charge).

Sound Recording System : P.C.L. System.

Exhibition : By The Tokyo Asahi and The Osaka Asahi.

DAIMAI-TONICHI INTERNATIONAL NEWS

(The Osaka Mainichi Shinbun-Sha.

I The Tokyo Nichi Nichi Shinbun-Sha.

Founded: Daimai News, 1908; Tonichi News, 1910.

Issued: Weekly (on Thursday).

Number of Reels: 1 reel a week.

Number of Prints: 144 prints per film.

Foreign Companies under Special Contract : RKO-Pathe News
(U.S.A.), Eclaire Journal, Pathe Journal (France), Bavaria Film
A.G. (Germany), Soyuzkinohronica (U.S.S.R.), Pathe Gazette
(England) ; Daimai-Tonichi International News sends special camera-
men to China ; it has a special contract with Italian cameramen.

Cameras: R.C.A. Sound Recording System Single Mitchell 1,
Parvo 2, Eyemo 15.

Number of Cameramen : 20.

Sound Recording System : R. C. A. System, Yokohama Cinema
System.

Exhibition: By The Osaka Mainichi and The Tokyo Nichi Nichi.

SEKAI NO UGOKI (MARCH OF THE WORLD)

(The Osaka Mainichi Shinbun-Sha.

' ' l The Tokyo Nichi Nichi Shinbun-Sha.

Founded: July, 1936.

Issued : Semi-monthly.

Number of Reels : 2 reels a month.

Number of Prints: 17 prints per film.

Se\ai no Ugo\i is compiled from foreign news pictures with
dialogue added in Japanese.

YOMIURI NEWS

By The Yomiuri Shinbun-Sha.

Founded: May, 1937.

Issued : Weekly.

Number of Reels : 1 reel a week.

Number of Prints: 92 prints per film.

Foreign Companies under Special Contract : Universal (U.S.A.),
Pathd Journal (France), Selenophone (Austria), Tobis (Germany),
Muller (England).

Cameras : Parvo 2, Eyemo 4, Eyemo Turret 2
Number of Cameramen : 7.

Sound Recording System : Eion System.

Exhibition: By The Yomiuri, Nippon-Shoji Co., Nippon News
Picture Co., Yomiuri Distributor in Kyushu, Yomiuri Distributor
in Korea.

TOA HASSEI NEWS EIGA SEISAKUSHO (THE TOA SOUND NEWS CO., LTD.)

Founded : March, 1935.

Issued : 6 or 7 reels a month.

Number of Prints: 40 prints per film.

Foreign Companies under Special Contract: “UFA’ Bavaria
Anita News Agency (Germany), Caribian Cinema Co. (Switzerland),
Rocinor Belgium-Japan Society (Belgium), Buenos Aires British-
Gaumont (South America), Gaumont Film-Aubert (France), EDR
Film Company (Spain), Honolulu Pacific Amusement Co., Film
Exchanging Co. (U.S.A.).

Cameras: Parvo 1, Eyemo 1, Akeley 1.

Number of Cameramen : 7.

Sound Recording System: Western Electric Sound Recording
System.

Exhibition : By The Toa Sound News Co. .

DOMEI NEWS

By The Domei Tsushin-Sha.

Founded : July, 1937.

Issued: Weekly.

Number of Reels: 1 reel a week.

Number of Prints: 85 prints per film.

Foreign Companies under Special Contract: Hearst Metrotone
News (U.S.A.).

Cameras: Parvo 3, Eyemo Turret 3, Eyemo 7, Devry 1, K.S.
Single Sound Recording Camera 1.

Number of Cameramen: 15.

Sound Recording System : K.S. System.

Exhibition : By The Domei-Eiga-Bu.

PARAMOUNT NEWS

By The Paramount News Co.

Founded: July, 1926.

Issued : Semi-monthly.

68 Cases of Photographing (including 21 cases used in U.S.A.).
Cameras: Eyemo 3, Parvo 1.

Number of Cameramen : 5.

Sound Recording System : Western Electric Sound Recording
System.

ALL JAPAN SOUND NEWS PRESS LEAGUE

By All Japan Sound News Press League.

Founded : December 9, 1936.

Issued: Weekly (on Tuesday).

Number of Reels: 1 reel a week.

Number of Prints : 20 prints per film.

Cameras: Parvo 1, Eyemo 4.

Number of Cameramen : 6.

64

Sound Recording System : Eion System.

Exhibition : By member offices of the League.

Member Newspaper Offices of the League: Chugoku Shinbun-
Sha, Kyoto Nichi Nichi Shinbun-Sha, Kobe Shinbun-Sha, Kyushu
Nichi Nichi Shinbun-Sha, Shin-Aichi Shinbun-Sha, Sanyo-Chugoku
Godo Shinbun-Sha, Taiwan Nichi Nichi Shinbun-Sha.

JAPANESE FILMS PRODUCED IN 1937

Distributor

Total

All-

Part Sound

Silent

talkie

talkie

Dai-Nippon Tennen-Shoku Eiga

Co., Ltd.

2

2

Daito Eiga Co., Ltd.

97

9

2

86

A. Fanck Production

2

2

Koyo Eiga Co., Ltd.

3

Kyokuto Eiga Co., Ltd.

2.3

2

Makino Talkie Co., Ltd.

Nippon Katsudo Shashin Co., Ltd.

20

20

(Nikkatsu)

92

92

Tokyo Studio

49

49

Kyoto Studio

38

38

Chiyezo Eiga Production

5

5

Shinko Kinema Co., Ltd.

92

92

Tokyo Studio

46

46

Kyoto Studio

39

39

Arashi-Kanjuro Production

6

6

Bando-Tsumasaburo Production

1

1

Shochiku Co., Ltd.

83

81

Ofuna Studio

48

48

Kyoto Studio

35

33

Toho Eiga Co., Ltd.

67

b7

Tokyo Studio

1 2

12

Kyoto Studio

7 '

7

Imai-Eiga Production

13

13

J. 0. Studio

5

5

P. C. L. Studio

25

25

Tokyo Hassei Production
Zensho Eiga Co., Ltd.

5

43

5

Main cities

Theatres

for

foreign

films

Theatres for Japanese fil

ms

Theatres

for

Japanese
films &
Foreign
films

Theatres

for

shorts

Totals

Shochiku

Nikkatsu

Shinko

Daito

T oho

Others

Tokyo

22

29

30

17

16

5

73

57

4

253

Osaka

9

12

9

7

—

7

53

30

3

130

Kyoto

3

2

4

5

—

2

10

16

2

44

Nagoya

3

7

2

2

—

—

11

14

39

Kobe

3

3

2

3

—

11

8

3

33

Yokohama

2

5

3

—

1

1

9

9

—

30

Hiroshima

—

3

1

1

—

4

4

—

13

Fukuoka

—

1

—

—

—

1

3

5

—

10

Sapporo

—

—

—

1

—

1

4

5

—

11

| Taihoku

—

1

—

2

—

—

2

6

—

11

Keijo

1

1

—

—

—

—

1

11

—

14

Dairen

1

2

—

2

—

—

—

4

9

Tokyo

Nagoya

Kobe

Keijo

Hiroshima

Taihoku

c f. Populations of Main Cities.

5,875,667

1,082,816

912,179

444,098

310,118

274,157

Osaka

Kyoto

Yokohama

Dairen

Fukuoka

Sapporo

2,989,874

1,080,593

704,290

362,802

291,158

196,541

65

CRITICISM ON PICTURES OF JAPANESE
MADE IN FOREIGN COUNTRIES

Several pictures with their plots based on Japan and Japanese
life have been produced in foreign countries. We can enumerate,
for instance, two silent French films “ La Bataille ” (The Battle)
and “ Cheat,” in which Sessue Hayakawa performs main roles,
and among recent sound films, “ Madam Butterfly ” of America,
“Port Arthur”, “La Bataille”, and “ Yoshiwara ” of France.
The latter two have neither been imported nor exhibited as yet in
Japan.

Unfortunately, those pictures were not received favourably by
general spectators here. We should think of the reasons that lie
behind this. Cinema critics in Japan remark as follows regarding
this question.

* *

* *

SETSUIGHI AOKI — General Secretary o( Kokusai Bunka Shinkokai
(The Society for International Cultural Relations).

As for “ Yoshiwara ” and “ Port Arthur”, these two have not
brought bad results for Japan, though the stories were rather awk-
wardly constructed.

As in many other similar pictures in the past, it can be said
that in the above pictures, there was little accuracy regarding set-
ting and costumes. But we note with pleasure the tendency of
foreign producers when making pictures of Japanese to stress on
Japanese virtues such as Yamato-Damashn (Nippon Spirit), Bushido,
Sacrifice, Loyalty, etc.

* *

* *

TSUGUJI FUJITA — Painter.

Their fatal mistake is to confuse Japan with China, as they
do in producing operas. This shows that foreigners are ignorant
of the Japanese and their life, and that they must be given correct
knowledge of costumes, setting, backgrounds, etc., as they seem to
produce things Japanese as they conceive them.

We cannot say that these pictures are disgrace to the national
honour of Japan.

* *

* *

TATSUO HOSHINO— Journalist, The Tokyo Asahi.

The misunderstanding of foreigners about Japan means that
we have failed in making them recognize our true nature. There-
fore, for instance, when “ Madam Butterfly ” is produced on the stage
or in films, we should instruct them as to the manners and customs
of the period and improve their conceptions towards Japanese
culture.

* *

* *

TADASI IIZIMA — Cinema critic.

A picture made by the Americans with its subject on French
matters may appear unnatural to the eyes of the French people. So
likewise a picture of the Japanese produced by foreigners may natu-
rally be ridiculous to us. Only one little part of Japan or Japanese
culture have been introduced to a small section or part of the
world. So there is no exaggeration in saying that the world public
know practically nothing about Japan.

This is one of the fundamental defects for producing pictures
of such kind as “ Port Arthur”, “ Yoshiwara”, etc., even though
we have some authorities or students of Japanese culture abroad.

TAKAO ITAGAKI — Cinema critic.

“Yoshiwara” impressed me as follows: — Defects of Japan’s
propaganda to foreign countries are the result of its ineffective
method, and the governmental supervision upon those Japanese
residing abroad is quite necessary.

* *

* *

HIKOTARO ICHIKAWA— Chief of the Third Section, Cultural Affairs
Bureau of the Department of Foreign Affairs.

Foreign people neither consider nor observe the life and
culture of modern Japan with sincerity and true sympathy. The
common faults of those pictures may be found in this point.

* *

* *

TARO TAJIMA — Censor of the Department of Home Affairs.

In all of those pictures, they have treated the Japanese as ex-
tremely primitive people, mentally as well as materially. This was
the most unpleasant thing I felt on seeing “ Yoshiwara ” or “ La
Bataille.

* *

* *

YOSHIHIKO TAMURA — Assistant-Manager of Paramount Films, LTD.

Costumes and habits of Japanese which appear in foreign
films are quite ridiculous. It cannot be overlooked that the pro-
ducers make no attempt to differentiate things Japanese and
Chinese, especially in the matter of setting, and that they make
actors speak disagreeable broken English to perform Japanese roles.

This may be due partly to the fact that they do not have good
advisers to consult regarding those maters.

* *

* *

SHUGO TSUMURA— Cinema critic.

To correct the defects found in those pictures, the Japanese
government must actively introduce abroad the life of present-
day Japan through Japanese embassies and consulates in foreign
countries, and cease propagandizing so much the culture of classical
Japan. If we should have the opportunity to show classical Japan
to foreigners, we must be very careful in the way we present it
to them.

IMPORTERS AND DISTRIBUTORS OF
FOREIGN FILMS

A. Companies for Importation and Distribution.

C0CC0-T0BIS FILM CO., LTD.

Sunamoto Bldg., Yuraku-Cho
Kojimachi-Ku, Tokyo

PRESIDENT Takeo Ogasawara

DAIDO-SHOJI EIGA CO., LTD.

Osaka Bldg., Uchisaiwai-Cho
Kojimachi-Ku, Tokyo
PRESIDENT Danjiro Ota

BRANCH OFFICE Osaka

66

EMPIRE PICTURES CO., LTD.

Osaka Bldg., Uchisaiwai-Cho
Kojimachi-Ku, Tokyo
PRESIDENT Azusa Nagae

BRANCH OFFICE Osaka

OBEI-EIGA-SHA

Daido Bldg., Tori-2-Chome
Nihonbashi-Ku, Tokyo
PRESIDENT Ushizo Ono

BRANCH OFFICE Osaka

SAN-EI-SHA

Oda-Shintaku Bldg., Kayaba-Cho
Nihonbashi-Ku, Tokyo
PRESIDENT Junkichi Otsu

BRANCH OFFICES Osaka, Fukuoka, Sapporo, Keijo, Dairen

TOWA-SHOJI GOSHI KAISHA

Kaijo Bldg., Marunouchi
Kojiniachi-Ku, Tokyo

PRESIDENT Nagamasa Kawakita

BRANCH OFFICES Osaka, Nagoya, Fukuoka, Sapporo,
Keijo, Taihoku. Dairen

Izumo Bldg , Ginza 8-Chome
Kyobashi-Ku, Tokyo
MANAGER A. G. Doyle

BRANCH OFFICES Osaka, Fukuoka

UNITED ARTISTS CORPORATION QF JAPAN

Osaka Bldg., Uchisaiwai-Cho
Kojimachi-Ku, Tokyo
MANAGER Albert A. Lowe

BRANCH OFFICES Osaka, Fukuoka

UNIVERSAL PICTURES (JAPAN), LTD.

Takachiho Bldg., Uchisaiwai-Cho
Kojimachi-Ku, Tokyo
MANAGER A E. Daff

BRANCH OFFICES Osaka, Fukuoka

WARNER BROTHERS-FIRST NATIONAL PICTURES (JAPAN), INC.

Tokyo-Tatemono Bldg., Gofukubashi
Nihonbashi-Ku, Tokyo
MANAGER Michael Shathin

BRANCH OFF'ICES Osaka, Fukuoka

B. Branch Offices of Foreign Companies.

COLUMBIA FILMS (JAPAN), LTD.

Osaka Bldg., Uchisaiwai-Cho
Kojimachi-Ku, Tokyo

MANAGER Michael M. Bergher

BRANCH OFFICES Osaka, Fukuoka, Nagoya, Sapporo,
Keijo, Dairen

METRO GOLDWYN MAYER CO., LTD.

Osaka Bldg., Uchisaiwai-Cho
Kojimachi-Ku, Tokyo
MANAGER Julian Berman

BRANCH OFFICES Osaka, Fukuoka

PARAMOUNT FILMS, LTD.

Osaka Bldg., Uchisaiwai-Cho
Kojimachi-Ku, Tokyo
MANAGER T. W. Piper

Assistant-MANAGER Yoshihiko Tamura
BRANCH OFFICES Osaka, Fukuoka, Nagoya

RKO-RADIO PICTURES OF JAPAN, LTD.

Seisho-Kan, 2 Ginza 4-Chome
Kyobashi-Ku, Tokyo

PRESIDENT Richard D. Spierman

BRANCH OFFICES Osaka, Fukuoka

TWENTIETH CENTURY-FOX FILM CO.

BEST TEN OF IMPORTED PICTURE

TEN BEST IMPORTED PICTURES OF 1937

As selected by “ The Movie Times ”

I.A KERMESSE HF.ROIQUE (Jacques Feyder) — -Tobis, France
LA BELLE EQUIPE (Julien Duvivier) — Cin6 Arys, France
LES BAS-FONDS (Jean Renoir) — Albatros, France
DODSWORTII (William Wyler) — United Artists, U.S.A.

MAKE WAY FOR TOMORROW (Leo McCarey) — Paramount,
U.S.A.

CLUB DE FEMMES (Jacques Deval)— S.E.L.F., France
THE GOOD EARTH (Sidney A. Franklin)— M G.M., U.S.A.

LE GOLEM (Julien Duvivier) — A B. Film, Czccho-Slovakia
YOU ONLY LIVE ONCE (Fritz Lang) — LInited Artists, U.S.A.
FURY (Fritz Lang)— M.G.M., U.S.A.

TEN RUNNERS-UP

L’HOMME DE JOURS (Julien Duvivier) — Marquis, France
GAY DESPERADO (Rouben Mamoulian) — United Artists, U.S.A.
REMBRANDT (Alexander Korda) — LTnited Artists-London Film,
England

MARKED WOMAN (Lloyd Bacon)— Warner-Bros., U.S.A
WINTERSET (Alfred Santell)— RICO, U.S.A

67

L’HOMME DE NULLE PART (Pierre Chenal)— General Prod.,
France

LO SQUADRONE BIANCO (Augusto Genina) — Roma Film, Italy
MEN ARE NOT GODS (Walter Reisch) — United Artists-London
Film, England

COURRIER SUD (Pierre Billon) — Pan-Cine, France
THE BELOVED VAGABOND (Kurt Bernhaldt)— Toeplitz Pro-
duction, England

BOX OFFICE BEST TEN

CHARGE OF THE LIGHT BRIGADE (Micheal Curtiz)— Warner
Bros. -First National, U.S.A.

THE GOOD EARTH (Sidney Franklin)— M.G.M., U.S.A.
MICHAEL STROGOFF (George Nichols, Jr.)— RKO, U.S.A.
PORT ARTHUR (Nicolas Farkas) — Tobis, France
LOST HORIZON (Frank Capra) — Columbia, U.S.A.

THE PLAINSMAN (Cecil B. DeMille) — Paramount, U.S.A.

THE SWING TIME (George Stevens)— RKO. U.S.A.

SHALL WE DANCE (Mark Sandrich)— RKO, U.S.A.

SOULS AT SEA (Henry Hathaway) — Paramount, U.S.A.

LES BAS-FONDS (Jean Renoir) — Albatros, France

PRINCIPAL PERIODICALS RELATED
TO CINEMA

i. Publishing Office 2. Frequency of Publication

3. Contents 4. Price : a copy ; per annum

Magazines (or Distribution and Exhibition

KIMEMA JUNPO (The Movie Times)

1. Kinema Junpo-Sha: Taihei Building, No. 3. Uchisaiwai-Cho,
Kojimachi-Ku, Tokyo

2. Tri-monthly

3. Business of distribution and exhibition : investigation, resear-
ches, records

4. 30 sen ; ¥ 10.50

KOKUSAI EIGA SHINBUN (The Motion Picture Trade Review)

1. Kokusai Eiga Tsushin-Sha: Ginza-i Building, No. 5, Ginza
l-Chome, Kyobashi-Ku, Tokyo

2. Semi-monthly

3. Business, investigation

4. 30 sen ; ¥ 6.00

Magazines for Researches

EIGA TO GIJUTSU (The Cine Technic)

1. Nippon Eiga Gijutsu Kyokai : Taikaku Building, No. 3, Ginza
Nishi-5-Chome, Kyobashi-Ku, T'okyo

2. Monthly

3. Announcement and introduction of technics and researches of
cinema

4. ¥ 50 sen ; ¥ 6.00

THE EIGA HYORON

1. Eiga-Hyoron-Sha : No. 16, Uenohara, Nakano-Ku, Tokyo

2. Monthly

3. Researches ; criticism and reviews of films

4. 50 sen ; ¥ 6.00

NIPPON EIGA

1. Dai-Nippon Eiga Kyokai: Toyo Takushoku Building, Uchi-
yamashita-Cho, Kojimachi-Ku, Tokyo

2. Monthly

3. Investigation, amusement

4. 40 sen ; ¥ 4,80

Magazines for Amusement

EIGA FAN

1. Eiga Sekai-Sha: No. 2, Sannen-Cho, Kojimachi-Ku, Tokyo

2. Monthly

3. Amusement

4. 40 sen ; ¥ 4-8o

EIGA NO TOMO

1. Eiga Sekai-Sha: No. 2, Sannen-Cho, Kojimachi-Ku, Tokyo

2. Monthly

3. Amusement, investigation

4. 50 sen ; ¥ 6.00

ASAHI EIGA

1. The Tokyo Asahi Shinbun-Sha : Yuraku-Cho, 2-Chome, Koji-
machi-Ku, Tokyo

2. Monthly

3. Amusement, investigation

4. 50 sen ; ¥ 6.98 (including foreign postage)

SCREEN PICTORIAL

1. Harumi-Eiko-Do : No. 31, Higashi-Machi, Meguro-Ku, Tokyo

2. Eight times a year

3. Pictures of foreign films

4. 80 sen ; ¥ 8.50 (including foreign postage)

SHIN-EIGA (New Pictures)

1. Shin-Eiga-Sha : No. 4355, Nishi-Oi Yamanaka-Cho, Shinagawa-
Ku, Tokyo

2. Monthly

3. Researches, amusement

4. 35 sen ; ¥ 4-°°

STAR

1. Star-Sha: No. 12, Marunouchi 3-Chome, Kojimachi-Ku, Tokyo

2. Semi-monthly

3. Amusement

4. 10 or 15 sen; ¥ 2.80

Miniature Movie

SAKURA MOVIE

1. Sakura Miniature. Movie Association: c/o Konishi-Roku Co.,
Ltd., Muromachi, Nihonbashi-Ku, Tokyo

2. Bi-monthly

3. Researches and reports of amateur movie

4. ¥ i.oo (as an entrance fee) — (membership system)

LIST OF ASSOCIATIONS

DAI NIPPON KATSUDO SHASHIN KYOKAI (The Japan Motion Picture As-
sociation)

Address: No. 3, 2-Chome Yurakucho, Kojimachi-Ku, Tokyo
Founded: July, 1925

Objects and Activities : The Association aims to promote fellow-
ship and unity among its members and to carry on the following

68

activities: 1. To negotiate with the governmental authorities

regarding government control of the motion picture business,
government censorship and other related questions. 2. To nego-
tiate for changes in, or abolition or reduction of, show tax, admis-
sion tax and other taxes related to the motion picture business.

3. To take up all matters which have to do with activities aiming
at the development of motion pictures produced in Japan. 4. To
take up matters relative to films made in Japan which aim at
their qualitative perfection as well as their wider use. 5. To
take up matters relative to investigations of various nature and
to compilation of statistics required by the motion picture
industry. 6. To take up matters relative to registration of various
agreements made by its members. 7. To take up also all other
matters necessary for carrying out the objects of the Association.
Honorary President: Einosuke Yokota
Permanent Director: Masao Kuwano

Permanent Director of the Kansai Branch: Ilcka Nakanishi

ZAIDAN HOJIN DAI NIPPON EIGA KYOKAI (The Japan Motion Picture
Foundation )

Address: Toyo Takushoku Building, Uchiyamashita-Cho, Koji-

machi-Ku, Tokyo

Founded: November 8, 1935

Objects and Activities: To improve and develop the motion
picture industry; to contribute to the maintenance and elevation
of public morality, considering the powerful influence of motion
pictures as the most popular amusement. The Foundation pub-
lishes its organ “Nippon Eiga ” (The Japan Motion Picture)
monthly.

President: Tatsuo Yamamoto

Advisory Board: Nobumasa Suetsugu, Koichi Kido, Fumio Goto,
Takejiro Otani, Einosuke Yokota

Permanent Directors: Toshiki Karasawa, Genki Abe, Shigevuki
Tanaka, Kokyu lkenaga, Taiji Uemura, Shiru Kido

NIPPON NEWS JISSHA EIGA REMMEI (The Japan Pictorial News League)

Address: Matsuda Ruilding, No. 2, Ginza Nishi-5-Chome, Kyo-
bashi-Ku, Tokyo
Founded: May 1, 1934

Objects and Activities: 1. The League aims to improve and devel-
op the making of motion picture recordings and news pictures, to
promote friendly relations among its member groups and to
introduce in Japan as well as abroad accurate knowledge of
conditions in Japan by means of filming and screening of motion
picture recordings of such conditions. 2. Its member groups
shall be given by the League, as far as circumstances allow, both
convenience and assistance in the filming and screening of their
pictures.

Honorary President: Tatsuo Kawai, Chief of the Information
Bureau of the Department of Foreign Affairs
Honorary Advisory Board: Shinji Matsui (The War Office),
Jun Tsuchiya (The Dept, of Foreign Affairs)

NIPPON NEWS CAMERAMAN KYOKAI (The Japan News Cameramen's As-
sociation)

Address: Taikaku Building, No. 3, Ginza Nishi-5-Chome, Kyo-
bashi-Ku, Tokyo
Founded: March, 1936

Objects and Activities: Development of News Pictures
Advisory Board: Yasuo Ito, Shigehiro Iwaolca, Shin’ichi Ota

NIPPON EIGA KANTOKU KYOKAI (The Japan Motion Picture Directors'
Association)

Address: Hideyoshi Building, No. 5, Ginza Nishi-5-Chome, Kyo-
bashi-Ku, Tokyo

Branch: Kansai Renrakubu of Nippon Eiga Kantoku Kyokai,
c/o Inagaki, 9 Narutaki Fujinoki-Machi, Ukyo-Ku, Kyoto
Founded: March 1936

Objects and Activities: The Association aims to contribute to
Japanese cultural life by elevating the moral standard of. and

bringing greater purity to, Motion Picture Art in Japan. It
carries on the following activities: 1. Research in the technique
of the motion picture. 2. Training of motion picture directory.

3. Research and investigation into the motion picture industry.

4. Research and investigation into laws and regulations govern-
ing the motion picture. 5. Cooperation with various technicians
in the motion picture industry. 6. Publication of an organ for
the expression of the theories and opinions held by the members.
7. Establishment of an agency for international cooperation in
matters relating to the motion picture. 8. Establishment of a
means for keeping in touch with the cultural life of the people.
Directors: Minoru Ishiyama, Kajiro Yamamoto, Tomu Uchida.
Hiroshi Inagaki.

Secretaries: Yasujiro Shimazu. Teinosuke Kinugasa

NIPPON EIGA GtJUTSU KYOKAI (The Nippon Society of Cine Technics)

Address: Taikaku Building, No. 3. Ginza Nishi-5-Chome, Kyo-

bashi-Ku, Tokyo

Founded: December 1, 1934

Objects and Activities: The Society aims to promote the
development and elevate the standard of motion picture technique
in Japan by encouraging among its members intimate contact
and concerted efforts to the end of effecting thoroughgoing
research and investigations. It carries on the following activities:
1. Publication of the monthly organ, “ Eiga to Gijutsu ” (The
Cine Technic). 2. Conducting of study groups, lectures, study
courses, and inspection trips. 3. Offering of rewards to producers
of meritorious motion pictures and to meritorious technicians.

4. Holding of contests in production of amateur motion pictures.

5. Publication of literature on the technique of motion picture.

6. Introducing and investigating various information.

Advisory Board: Teru Ariga, Taiji Uemura, Shinnosuke Fuku-
shima, Toshizo Araki, Rin Masutani, Shiro Kido, Osamu Roku-
sha, Kan’ichi Negishi.

NIPPON EIGA SAKKA KYOKAI (The Japan Scenario Writers' Association)

Address: (East) Hideyoshi Building, No. 5, Ginza Nishi-5-Cho-
rne, Kyobashi-Ku, Tokyo. (West) 28, Uzumasa Hachigaoka-
Machi, Ukyo-Ku, Kyoto
Founded: June, 1937

Objects and Activities: The Association aims to elevate the
level of cinematographic art in Japan ; to promote fellowship and
benefit among its members ; to conduct general activities in
motion picture industry for those purposes.

Director of Kanto (East) Branch: Yoshiro Aramaki (Niklcatsu)

MOTION PICTURE ENTERPRISES OF
GOVERNMENTAL AND ASSOCIATED BODIES

THE DEPARTMENT OF HOME AFFAIRS

The Bureau of Public Order : Objects and Activities: Censor-
ing and licensing of films for public showing and enforcing of laws
governing the motion picture.

The Bureau of Hygiene : Objects and Activities : Making of
motion pictures for dissemination of ideas on health and sanitation.

THE DEPARTMENT OF FINANCE

The Bureau of Monopoly : Objects and Activities : Making and
showing of motion pictures for giving publicity to the work of the
Bureau.

THE DEPARTMENT OF EDUCATION

The Bur au of Social Education : Objects: Giving social edu-

69

cation by means of the motion picture. Activities: i. Making of
educational films. 2. Distributing and lending of such films. 3.
Publishing annually of “ A Short Course in Education Through the
Motion Picture” and “A Short Course in Filming and Screening
of the Motion Picture ” with a view to giving training in, as well
as making more universal, the use of the motion picture for edu-
cational purposes. 4. Recommending films of high merit and offer-
ing prizes for a certain number of such films. 5. Publishing of
“ Monbush 6 Kyoiku Eiga Jiho” (The Educational Film News of
the Department of Education).

THE DEPARTMENT OF AGRICULTURE AND FORESTRY
The Bureau of Animal Industry : Section of General and
Veterinary Affairs : Objects and Activities : Making and showing
of motion pictures for dissemination of knowledge about the care
of live-stock.

Section of Live-Stock Insurance: Objects and Activities:
Making and showing of motion pictures for giving publicity to
live-stock insurance.

Section of Horse: Objects and Activities : Making and show-
ing of motion pictures on the various uses to which the horse is put.

The Bureau of Agriculture : Section of Land Adjustment and
Reclamation: Objects and Activities: Making and showing of

motion pictures recording land cultivation.

Section of Plant Industry: Objects and Activities: Making
and showing of motion pictures recording improvements in agri-
culture. Also giving financial aid for purchasing of motion picture
projectors to provincial organizations offering agricultural training.

THE DEPARTMENT OF COMMUNICATION

The Communications Museum : Objects and Activities : Making
and showing of motion pictures for advertising telegraphic, tele-
phonic and postal services.

The Bureau of Post-Office Life Insurance Objects and Activi-
ties: Making and showing of motion pictures for dissemination of
knowledge about, and giving publicity to, government insurance.

THE DEPARTMENT OF RAILWAYS

The Board of Tourist Industry ; Objects and Activities : Making
and showing in foreign countries of motion pictures introducing
Japan abroad and attracting tourists to Japan.

The Bureau of Traffic and Operation: Objects: Inducing
people to travel in Japan and improving public morality among
the travellers. Activities: 1. Making of motion pictures. 2. Lend-
ing of films to theatres, schools and groups. 3. Screening of motion
pictures at the Railway Museum every Saturday afternoon.

THE DEPARTMENT OF OVERSEAS AFFAIRS

The Bureau of Exploitation : Objects and Activities : Making
and showing of motion pictures in Japan describing activities in
hei colonies

KOKUSAI BUNKA SH1NKO KAI (THE SOCIETY FOR INTER-
NATIONAL CULTURAL RELATIONS)

Objects and Activities: Making of motion pictures in Japan
and showing them in foreign countries for the purpose of intro-
ducing Japan and her culture abroad.

N 1CHI-HAKU KEIZAI KYOKAI (ASSOCIA^AO ECONOMICA
N I PPO-BRASILE1 RA)

Objects and Activities: Making of propaganda films for intro-
ducing Japanese affairs to people in Brazil.

SANGYOKUMIA! CHUOKAI (THE CENTRAL ASSOCIATION
OF INDUSTRIAL GUILDS)

KOGYOKUMIA1 CHUOKAI (THE CENTRAL ASSOCIATION
OF MANUFACTURERS’ GUILDS)

KYOCHOKAI (THE SOCIETY FOR THE CONCILIATION OF
LABOUR AND CAPITAL)

NIPPON SHOKO KAIGISHO (THE JAPAN CHAMBER OF
COMMERCE AND INDUSTRY)

DAI NIPPON SANRINKAI (THE JAPAN FORESTRY ASSO-
CIATION)

TEIKOKU BAH1TSU KYOKAI (THE IMPERIAL HORSE ASSO
CIATION)

MINAMI MANSHU TETSUDO EIGA SEISAKUSHO (THE
SOUTH MANCHURIA RAILWAYS MOTION PICTURE
PRODUCTION DEPARTMENT)

CHOSEN SOTOKUFU SOTOKUKAMBO BUNSHOKA (THE
ARCHIVES AND DOCUMENTS SECTION OF THE SECRE-
TARIAT OF THE GOVERNOR-GENERAL’S OFFICE OF
CHOSEN)

CHOSEN TETSUDO KYOKU (THE CHOSEN RAILWAY
BUREAU)

TOKYOSHI KYOIKUKYOKU (THE TOKYO MUNICIPAL
BUREAU OF EDUCATION)

OSAKASHI DENKIKYOKU (THE OSAKA MUNICIPAL ELEC-
TRIC BUREAU)

NIPPON HOSO KYOKAI (THE BROADCASTING CORPORA
TION OF JAPAN)

DAI NIPPON EIGA KYOKAI (THE JAPAN MOTION PICTURE
FOUNDATION)

RANKING ACTORS AND ACTRESSES

ACTORS

Bando, Tsumasaburo : Nikkatsu Kyoto Studio, Jidai-ge\i. Latest
films: Koi Yama-bik.o (Nikkatsu), Chushingura (Nikkatsu), etc.

Hasegawa, Kazuo (Former Hayashi, Chojiro) : Toho Tokyo Studio,
]idai-gel{i. Latest films: Osa\a FJatsu no Jin (The Summer Bat-
tle of Osaka, Shochiku), Te\\ol{U K6fu\u (The Enemy Surrenders,
Shochiku), Tojuro no Koi (Toj ro's Love, Toho).

Kataoka, Chiyezo: Nikkatou Kyoto Studio, Jidai-gel{i. Latest
films : Asano Ta\umi no Kami (Nikkatsu), Kogen no Tamashii
(The Soul of a Prairie, Nikkatsu), Chdshingura (Nikkatsu), etc.

Kawamura, Reikichi : Shochiku Ofuna Studio, Gendai-ge\i. Latest
films: Hana\ago no Uta (Song of the Flower-Basket, Shochiku),
Kaze no na\a no Kodomo (Children in the Wind, Shochiku), etc.

Kawarasaki, Chojuro. member of Zenshin-za, film and stage.
Latest films: Sengo\u Gunto Den (An Epic of Civil War
Robbers, Toho), NJin jo Kam. Fusen (Paper Balloon, Toho),
Abe lchizo!{u (The Abes, Toho).

Kawazu, Seizaburo: Shinko Tokyo Studio, Gendai-gel{i. Latest
films: Ai-En-Kyo (The Valley of Love and Sorrow, Shinko), Roei
no Ota (Song of the Bivouac, Shinko), etc.

Kosugi, Isamu: Nikkatsu Tokyo Studio, Gendai-gel{i. Latest
films: Ataraslu\i Tsuchi (The New Earth), Hada\a no M achi
(The Naked Street, Nikkatsu), Kaginna\i Zenshin (Forward For-
ever, Nikkatsu). Gonin no Se\\u-hei (Five Scouts, Nikkatsu)

70

Nakamura, Kan’cmon: member of Zenshin-za, stage and film.
Latest films: Sengo\u Gunto Den (An Epic of Civil War Rob-
bers, Toho), T^injo Kami Fusen (Paper Balloon, Toho), Abe Ichi-
z ol{u (The Abes, Toho)

Okochi, Denjiro: Toho Tokyo Studio, ]idai-ge\i. Latest films:
Koichi Tanbei (Nikkatsu), T[ango\u Taihei-\i (J. O.), Kyoj n Den
(Toho).

Ryu, Chishu: Shochiku Ofuna Studio, Gendai-ge\i. Latest films:
Aogeba Tdtoshi (Shochiku), Hana\ago no Uta (Song of the
Flower-Basket), Asa\usa no Hi (Lights of Asakusa, Shochiku).

Saburi, Shin: Shochiku Ofuna Studio, Gendai- gel{i. Latest films:
Kojo no Tsu\i (Moon Over the Ruins, Shochiku) Kon'ya\ u Sanba
Karasu (The Engaged Three, Shochiku), Otol{0 no Tsugunai (Repa-
ration of a Man, Shochiku), etc.

Irie, Takako : Toho Tokyo Studio, Gendai-ge\i. Latest films:
Jonin AishQ (Pitty of Being a Woman, P. C. L. ), Karayu\i-san
(P. C. L.), Otto no Teiso (The Husband’s Chastity, Toho).

Kuwano, Michiko : Shochiku Ofuna Studio, Gendai-ge\i. Latest
films: Hanayome Karuta (The Bride’s Game of Cards, Shochiku),
Koi mo Wasurete (Even Forgetting Love, Shochiku), Oto\o no
Tsugunai (Reparation of a Man, Shochiku), Shuf^ujo wa T{ini o
Wasureta \a (What Did the Ladies Forget? Shochiku)

Miyake, Kuniko : Shochiku Ofuna Studio, Gendai- ge\i. Latest
films: Ame no To no Hoyo (In the Rainy Night, Shochiku), Mama
no Endan (Mama’s Marriage Proposal, Shochiku), etc.

Murata, Chiyeko : Nikkatsu Tokyo Studio, Gendai-ge\i. Latest
films: Hada\a no Machi (The Naked Street, Nikkatsu), Oshidori
DochC (Nikkatsu), etc.

Sano, Shuji: Shochiku Ofuna Studio, Gendai- ge\i. Latest films:
Kojo no Tsu!{i (Moon Over the Ruins, Shochiku), Kon’ya\u Sanba
Karasu (The Engaged Three, Shochiku), Hanagata Senshu (Cham-
pion Athlete, Shochiku), etc.

Saito. Tatsuo: Shochiku Ofuna Studio, Gendai-ge\i. Latest films:
Shu\ujo wa Fiani o Wasureta \a (What Did the Ladies Forget?
Shochiku), 0\usama ni Shirasu Bel{arazu (Don’t Let the Madam
Know, Shochiku).

Takasugi, Sanae: Shochiku Ofuna Studio, Gendai-ge\i. Latest
films: Kojo no Tsu\i (Moon Over the Ruins, Shochiku), Shu to
Midori (Vermilion and Green, Shochiku), etc.

Takamine, Mieko : Shochiku Ofuna Studio, Gendai-gel{i. Latest
films: Kojo no Tsu\i (Moon Over the Ruins, Shochiku), Kon ya\u
Sanba Karasu (The Engaged Three, Shochiku), Shu to Midori (Ver-
milion and Green, Shochiku), Asakusa no Hi (Lights of Asakusa,
Shochiku).

Uehara, Ken: Shochiku Ofuna Studio, Gendai-gel{i. Latest films:
Shu to Midori (Vermilion and Green, Shochiku), Kon’ya\u Sanba
Karasu (The Engaged Three, Shochiku), Asakusa no Hi (Lights of
Asakusa, Shochiku).

ACTRESSES

Hanabusa, Yuriko : Toho Tokyo Studio, Gendai- ge\i. Latest films:
Wa\ai Hilo (Young People, Tokyo Hassei) Haha no Kyo\u (The
Mother's Melody, Toho), etc.

Hara, Setsuko : Toho Tokyo Studio, Gendai-gel{i. Latest films :
Atarashil{i Tsuchi (The New Earth), T6\ai Bijo Den (Tale of
the Beauty in Tokai, J. O.), Haha no Kyo\u (The Mother’s Melody,
Toho).

Hosokawa, Chikako : Toho Tokyo Studio, Gendai-geJ{i. Latest
film: Tasogare no Mizuumi (Twilight of the Lake, Toho).

Ichikawa, Haruyo : Toho Tokyo Studio, Gen\ai-ge\i. Latest
films: A tarashi\i Tsuchi (The New Earth), Wa\ai Hito (Young
People, Tokyo Hassei), etc.

Iida, Choko : Shochiku Ofuna Studio, Gendai-ge\i. Latest
films : Shu\ujo wa AJani o Wasureta \a (What Did the Ladies
Forget? Shochiku), Kojo no Tsu\i (Moon Over the Ruins, Sho-
chiku), etc.

Takehisa, Chiyeko : Toho Tokyo Studio, Gendai-ge\i. Latest
films: Yoru no Hato (Night Pigeon, J. O.), Chinetsu (Subterra-
nean Heat, Toho), etc.

Tanaka, Kinuyo: Shochiku Ofuna Studio, Gendai-gel{i. Latest
films: Hana\ago no Uta (Song of the Flower-Basket, Shochiku),
Bancho Sara-yashi\i (Shochiku), Oto\o no Tsugunai (Reparation
of a Man, Shochiku).

Todoroki, Yukiko: Nikkatsu Kyoto Studio, Maiden role. Latest
films: Kogen no Tamashii (The Soul of a Prairie, Nikkatsu),
Utsu\ushi}{i Ta\a (A Beautiful Hawk, Nikkatsu) Kdgirina^: Z enshin
(Forward Forever, Nikkatsu), etc.

Tsutsumi, Masalco : Toho Tokyo Studio, Maiden role. Latest
films: Chinetsu (Toho), Kyojin Den (Toho), etc.

Yamada, Isuzu: Shinko Kyoto Studio, Jidai-ge\i. Latest films:
Kinno Inal^a Samurai (Loyal Country Samurai, Shinko), Toshida
Goten (Yoshida Mansion, Shinko), Shizu\a Gozen (Shinko).

Yamaji, Fumiko: Shinko Tokyo Studio, Gendai-ge\i. Latest
films: Ai-En-Kyo (The Valley of Love and Sorrow, Shinko), Roei
no Uta (Song of the Bivouac, Shinko), etc.

Yoshikawa, Mitsuko: Shochiku Ofuna Studio, Gendai-ge\i. Latest
films : Shut{ujo wa T[ani o Wasureta \a (What Did the Ladies
Forget? Shochiku), Kaze no na\a no Kodomo (Children in the
Wind, Shochiku) Ok.usama ni Shirasu Be\arazu (Don't Let the
Madam Know, Shochiku), etc.

K 0 K

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(Series — A.)

Map of Japan and Adjacent Regions, Prepared by K. B. S.

Nipon (Photo Alburn). A Production of K. B. S.

Japanese School Life through the Camera. Photographed and Edited
by K. B. S.

A Guide to Japanese Studies. Edited by K. B. s.

K. B. S. Bibliographical Register of Important Works Written in Ja-
panese and the Far East. Published During the Year 1932.

A Historical Sketch of Japanese Customs and Costumes. B'J

Tsutornu Ema.

Folk-crafts in Japan. By Sdetsu Yanagi.

Japanese Music. By Ilisao Tanabc.

The Noh Drama. Edited by K. B. s.

Lecture Series on Japanese Culture

Ancient Japan in the Light of Authropology. By Ryuzo Torii, D.
Lift.

A Glimpse of Japanese Ideals. Lectures on -Japanese Art and Culture
by Jiro Haada, Lit. D.

Jardin Japonais, ses Origines et Caracleres, Dessins et Plans. By Tsu-
yoshi Tamura.

Arts of the Landscape Garden in Japan, by Tsuyoshi Tamura, Dr.
of Forestry.

Catalogue of the K. B. S. Library.

Bibliographic Abreg^e des Livres Relatifs au Japon (En Francais
Italien, Espaghol et Portugais.)

(Series — B.)

Lectures on Japanese Arts.

Human Elements in Ceramic Art. By Kikusaburo Fukui.

Summer Palace and Lama Temples in Jehol. By Tadashi Selcino,
D. Sc.

Development of the Japanese Theatre Art. By Sigetoshi Kawatake.

Fundamentals of Japanese Architecture. By Bruno Taut.

An Outline History of Japanese Dance. By Makoto Sugiyama &

Educational and Cultural Background of the Japanese People.

By Nyozekan Ilasegawa, Social and Literary Critic.

The Development of Economic Life in Japan. By Takao Tsuchiya
The Climate of Japan and its Influences on the Japanese People.

By Takematsu Okada, D. Sc.

Buddhist Philosophy and its Effects on the Life and Thought of
the Japanese People. By Daisetz Teitaro Suzuki, D. Sitt_

Western Influences on Japanese History and Culture in Earlier
Periods (1549-1869 ). By Izuru Shimmura, D. Litt.

History and Trends of Modern Japanese Literature. By Kan
Kikuchi, Novelist and Playwright.

Neue Wege zur Erforschung der ethnologischen Stellung Japans.

By P. W. Schmidt , S. V. D.

Grundlinien der Architektur Japans. ( German Edition ) By Bruno
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Les Elements Humains Dans L’Art Ceramique. < French Edition)

Kanjuro Fujima. By Kikusaburo Fukui

72

Lcs Elementos Kumanos en la Ceramica. < Spanish Edition > By
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El Desarrollo del arte Teatral Japones. ( Spanish Edition) Bs Shige-
toshi Kawatake.

Influencias Occidentales en la Histcria y en la Cultura del Japon

lurantelos Primer os T tempos ( 1549-1869 .) ( Spanish Edition) By Izuru

Shimmura.

A Short Bibliography of English Books on Japan

Catalogue of Lantern Slide ; Vol. I. Cardens of Japan, Vol. II.
Japanese Sculpture, Vol. III. Japanese Architecture, Vol. IV.
Japanese Painting, Vol. V. Japanese Industrial Arts.

FILMS, LANTERN SLIDES AND PHOTOGRAPHS
Films (Various Kinds of Cultural Films)

(36 m.m.)

“ The Floral Art of Japan ” 1 reel.

“A Day with a Japanese Painter” 1 reel.

“ Pottery of Japan ” 3 reels.

‘‘Architecture of Japan” 1 reel.

“Carden of Japan ” 2 reels.

“ Kagainijishi ” (A Kabuki Dance) 3 reels.

“ Primary Schools of Japan ” 3 reels.

(16 m.m.)

“Japanese Doll-Making” 2 reels.

“ Japanese Flower Arrangement ” 1 reel.

"Japanese Paper Fan” 1 reel.

“Japanese Lacquer Wares” 1 reel.

“Jap nese Paper” 1 reel.

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life such as industry, agriculture, commerce, architecture, trans-
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82

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