Setsuko Hara in Late Spring in 1949
Aida Masae(会田 昌江)
June 17, 1920
Yokohama, Kanagawa, Japan
|Died||September 5, 2015 95) (aged|
| No Regrets for Our Youth |
Setsuko Hara(原 節子Hara Setsuko, June 17, 1920 – September 5, 2015) was a Japanese actress. In the West, she is best known for her performances in Yasujirō Ozu's films Late Spring (1949) and Tokyo Story (1953), although she had already appeared in 67 films before working with Ozu.
Japan is an island country in East Asia. Located in the Pacific Ocean, it lies off the eastern coast of the Asian continent and stretches from the Sea of Okhotsk in the north to the East China Sea and the Philippine Sea in the south.
Yasujirō Ozu was a Japanese film director and screenwriter. He began his career during the era of silent films. Ozu first made a number of short comedies, before turning to more serious themes in the 1930s.
Late Spring is a 1949 Japanese drama film, directed by Yasujirō Ozu and produced by the Shochiku studio. It is based on the short novel Father and Daughter by the 20th-century novelist and critic Kazuo Hirotsu, and was adapted for the screen by Ozu and his frequent collaborator, screenwriter Kogo Noda. The film was written and shot during the Allied Powers' Occupation of Japan and was subject to the Occupation's official censorship requirements. It stars Chishū Ryū, who was featured in almost all of the director’s films, and Setsuko Hara, making her first of six appearances in Ozu’s work. It is the first installment of Ozu’s so-called “Noriko trilogy”—the others are Early Summer and Tokyo Story —in each of which Hara portrays a young woman named Noriko, though the three Norikos are distinct, unrelated characters, linked primarily by their status as single women in postwar Japan.
Setsuko Hara was born Masae Aida(会田 昌江Aida Masae) in what is now Hodogaya-ku, Yokohama in a family with three sons and five daughters. Her elder sister was married to film director Hisatora Kumagai, which gave her an entry into the world of the cinema: he encouraged her to drop out of school, which she did and went to work for Nikkatsu Studios in Tamagawa, outside Tokyo, in 1935. She debuted at the age of 15 with a stage name that the studio gave her in Do Not Hesitate Young Folks!(ためらふ勿れ若人よtamerafu nakare wakōdo yo)
Hodogaya-ku (保土ケ谷区) is one of the 18 wards of the city of Yokohama in Kanagawa Prefecture, Japan. As of 2010, Hodogaya Ward had an estimated population of 205,887 and a density of 9,400 inhabitants per square kilometer (24,000/sq mi). The total area was 21.91 km2 (8.46 sq mi).
The Nikkatsu Corporation is a Japanese entertainment company known for its film and television productions. It is Japan's oldest major movie studio, founded during the silent film era. The name Nikkatsu amalgamates the words Nippon Katsudō Shashin, literally "Japan Motion Pictures".
She came to prominence as an actress in the 1937 German-Japanese co-production Die Tochter des Samurai ( The Daughter of the Samurai ), known in Japan as Atarashiki Tsuchi (The New Earth), directed by Arnold Fanck and Mansaku Itami.In the film, Hara plays a woman who unsuccessfully attempts to immolate herself in a volcano. She continued to portray tragic heroines in many of her films until the end of World War II, like “The Suicide Troops of the Watchtower” (1942) and “The Green Mountains” (1949), directed by Tadashi Imai, and “Toward the Decisive Battle in the Sky,” directed by Kunio Watanabe.
The Daughter of the Samurai is a 1937 German-Japanese drama film directed by Arnold Fanck and Mansaku Itami and starring Setsuko Hara, Ruth Eweler and Sessue Hayakawa. Its Japanese title was Atarashiki tsuchi, meaning "New Earth." It was the first of two co-productions between Japan and Nazi Germany. Franck, who was famous for making mountaineering films, was possibly chosen as director because of his connections to the Nazi Party. Fanck and Itami clashed a great deal during the film's production, and in effect created two separate versions for release in their respective countries.
Arnold Fanck was a German film director and pioneer of the mountain film genre. He is best known for the extraordinary alpine footage he captured in such films as The Holy Mountain (1926), The White Hell of Pitz Palu (1929), Storm over Mont Blanc (1930), Der weisse Rausch (1931), and S.O.S. Eisberg (1933). Fanck was also instrumental in launching the careers of several filmmakers during the Weimar years in Germany, including Leni Riefenstahl, Luis Trenker, and cinematographers Sepp Allgeier, Richard Angst, Hans Schneeberger, and Walter Riml.
Mansaku Itami was a Japanese film director and screenwriter known for his critical, sometimes satirical portraits of Japan and its history. He is the father of the director Juzo Itami.
Hara remained in Japan after 1945 and continued making anti-communist films. She starred in Akira Kurosawa’s first postwar film, No Regrets for Our Youth (1946).She also worked with director Kimisaburo Yoshimura in A Ball at the Anjo House (1947) and Keisuke Kinoshita in Here’s to the Girls (1949). In all of these films, she was portrayed as the “new” Japanese woman, looking forward to a bright future. However, in most of her movies, especially those directed by Yasujirō Ozu and Mikio Naruse she plays the typical Japanese woman, as either daughter, wife, or mother.
Anti-communism is opposition to communism. Organized anti-communism developed after the 1917 October Revolution in Russia and it reached global dimensions during the Cold War, when the United States and the Soviet Union engaged in an intense rivalry. Anti-communism has been an element of movements holding many different political positions, including nationalist, social democratic, liberal, libertarian, conservative, fascist, capitalist, anarchist and even socialist viewpoints.
Akira Kurosawa was a Japanese film director and screenwriter, who directed 30 films in a career spanning 57 years. He is regarded as one of the most important and influential filmmakers in the history of cinema.
No Regrets for Our Youth is a 1946 film written and directed by Akira Kurosawa. It is based on the 1933 Takigawa incident.
Hara’s first film of six with Yasujirō Ozu was Late Spring (1949), and their collaboration would last for the next twelve years. In Late Spring, she plays Noriko, a devoted daughter who prefers to stay at home and take care of her father than to marry, despite the urgings of her family members. In Early Summer (1951), she played an unrelated character also called Noriko, who wanted to get married, and finds the courage to do so without her family’s approval. This was followed by Tokyo Story (1953), perhaps her and Ozu's best-known film, in which she played a widow, also called Noriko whose husband was killed in the war. Her devotion to her deceased husband worries her in-laws, who insist that she should move on and remarry.
Early Summer is a 1951 film by Yasujirō Ozu. Like most of Ozu's post-war films, Early Summer deals with many issues ranging from communication problems between generations to the rising role of women in post-war Japan.
Tokyo Story is a 1953 Japanese drama film directed by Yasujirō Ozu and starring Chishū Ryū and Chieko Higashiyama. It tells the story of an aging couple who travel to Tokyo to visit their grown children. The film contrasts the behavior of their children, who are too busy to pay them much attention, with that of their widowed daughter-in-law, who treats them with kindness.
A widow is a woman whose spouse has died and a widower is a man whose spouse has died. The treatment of widows and widowers around the world varies.
Hara's last major role was Riku, the wife of Ōishi Yoshio, in the film Chushingura (1962).
Ōishi Yoshio was the chamberlain (karō) of the Akō Domain in Harima Province, Japan. He is known as the leader of the Forty-seven Ronin in their 1702 vendetta and thus the hero of the Chūshingura. He is often referred to by his title, Ōishi Kuranosuke (大石内蔵助).
Chūshingura: Hana no Maki, Yuki no Maki is a 1962 color period drama Japanese film directed by Hiroshi Inagaki. The film featured Toshiro Mifune in the role of Genba Tawaraboshi.
Hara, who never married, is nicknamed "the Eternal Virgin" in Japanand is a symbol of the golden era of Japanese cinema of the 1950s. She quit acting in 1963 (the year Ozu died), and subsequently led a secluded life in Kamakura, where many of her films with Ozu were made, refusing all interviews and photographs. For years, people would speculate about her reasons for leaving the public eye. Hara herself confessed during her final press conference that she never really enjoyed acting and was only using it as a means to support her family; however, many people continued to speculate over her possible romantic involvement with Ozu, or the possibility of failing eyesight.
After seeing a Setsuko Hara film, the novelist Shūsaku Endō wrote: "We would sigh or let out a great breath from the depths of our hearts, for what we felt was precisely this: Can it be possible that there is such a woman in this world?"
After more than half a century of seclusion, Hara died of pneumonia at a hospital in Kanagawa prefecture, on September 5, 2015, at the age of 95. Her death was not reported by the media until November 25 of that year due to her family only approaching them later (presumably for privacy).The anime film Millennium Actress (2001), directed by Satoshi Kon, is partly based on her life, although it was produced and released more than a decade prior to her death.
The cinema of Japan has a history that spans more than 100 years. Japan has one of the oldest and largest film industries in the world; as of 2010, it was the fourth largest by number of feature films produced. In 2011 Japan produced 411 feature films that earned 54.9% of a box office total of US$2.338 billion. Movies have been produced in Japan since 1897, when the first foreign cameramen arrived. In a Sight & Sound list of the best films produced in Asia, Japanese works made up eight of the top 12, with Tokyo Story (1953) ranked number one. Japan has won the Academy Award for the Best Foreign Language Film four times, more than any other Asian country.
Kogo Noda was a Japanese screenwriter most famous for collaborating with Yasujirō Ozu on many of the director's films.
Kinuyo Tanaka was a Japanese actress and director. She had a career lasting over 50 years with more than 250 credited films, and was best known for her roles in collaboration with director Kenji Mizoguchi over 15 films between 1940 and 1954. She was also a second cousin to director Masaki Kobayashi.
Equinox Flower is a 1958 color Japanese film directed by Yasujirō Ozu. The film is based on a novel by Ton Satomi. The film won the 1958 Blue Ribbon Award for Fujiko Yamamoto's performance as Best Actress.
Brothers and Sisters of the Toda Family is a 1941 Japanese film directed by Yasujirō Ozu.
Ton Satomi is the pen-name of Japanese author Hideo Yamanouchi. Satomi was known for the craftsmanship of his dialogue and command of the Japanese language. His two elder brothers, Ikuma Arishima and Takeo Arishima, were also authors.
Late Autumn is a 1960 Japanese drama film directed by Yasujirō Ozu. It stars Setsuko Hara and Yoko Tsukasa as a mother and daughter, and is based on a story by Ton Satomi.
Keisuke Kinoshita was a Japanese film director.
Tokyo Twilight is a 1957 Japanese drama film by Yasujirō Ozu. It is the story of two sisters who are reunited with a mother who left them as children. The film is considered amongst Ozu's darkest postwar films; it is well received though lesser known.
The End of Summer is a 1961 film directed by Yasujirō Ozu. It was entered into the 12th Berlin International Film Festival. The film was his penultimate; only An Autumn Afternoon (1962) followed it.
Kōzaburō Yoshimura was a Japanese film director.
What Did the Lady Forget? is a 1937 Japanese film directed by Yasujirō Ozu.
Tea Over Rice or The Flavor of Green Tea over Rice is a 1952 Japanese film directed by Yasujirō Ozu. The screenplay concerns a wealthy middle-aged couple who have marital difficulties, and their niece who uses the couple's troubles as her excuse for not attending arranged marriage interviews.
Sanezumi Fujimoto was a Japanese film producer. He served as the head of production for Toho Studios. He was co-producer of Akira Kurosawa's The Hidden Fortress. He also produced many other films, including Yasujirō Ozu's The End of Summer, Kihachi Okamoto's The Sword of Doom and Japan's Longest Day and several films directed by Mikio Naruse.
Yumeko Aizome is a former Japanese stage and screen actress. She appeared in both silent and sound film, as her entertainment career spanned the years from 1930 until 1965.
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