Kenka tobi / 喧嘩鳶 (‘Fighting Firemen,’ 1939)

Obscure Japanese Film #222

 

Kazuo Hasegawa

 

This Toho Eiga production was based on a newspaper serial novel by Kanji Kunieda (1892-1956), who specialised in stories set in the Edo period and also wrote the source novel upon which Mizoguchi’s  Utamaro and His Five Women (1946) was based. The story of Kenka tobi concerns the genuine historical phenomenon of the samurai firefighting gangs of the Edo period, who were often in fierce competition with each other. 

 

Isuzu Yamada

 

The film features four of the big stars of Japanese cinema in the late 1930s: Kazuo Hasegawa, Isuzu Yamada, Ranko Hanai and Yataro Kurokawa. Directed by Tamizo Ishida, who also made Fallen Blossoms (1938) and the previously-reviewed Flower-Picking Diary (1939), it was a big budget production originally released in two parts and featuring impressively large sets (much of which goes up in flames) and hundreds of extras. 

 

Ranko Hanai

 

Kenka tobi zenpen (‘Fighting Firemen Part 1’) ran 73 minutes and, while I was unable to find a reliable running time for Part 2 (Kenka tobi kohen), I think it’s safe to assume it was a similar length. What we are left with is an 89-minute version cobbled together from the two original parts, so it’s likely that nearly an hour has been chopped out, and there are certainly elements of the story that are a little unclear. 

 

Yamada and Hasegawa

What remains has Kichigoro (Hasegawa), a firefighter from the Kaga-tobi gang, coming to the rescue of Omon (Hanai) when some villains try to abduct her in the street. Omon is the sister of the Ha-gumi gang’s Jirokichi (Kurokawa). She falls in love with Kichigoro, but this is complicated as he belongs to the rivals of her brother’s gang (shades of Romeo and Juliet) and also because Koina (Yamada), a geisha who knows him as a client, is already in love with him…

 

Hasegawa and Yataro Kurokawa

 

Although it’s a meller aimed squarely at the box office, there’s a good deal of subtlety in Ishida’s direction here, and it’s really very well staged and shot throughout, while performances are free from the hamminess you might expect from this type of material. With so few early Japanese talkies available in such good quality before it mostly became military propaganda, Kenka tobi is a rare treat. I doubt that we’ll ever get to see the original two parts in full and would not be surprised if they no longer exist – it was quite common in the Japanese cinema at the time for studios to make two-part films, then edit them down to a single feature and apparently bin the rest. Other examples that spring to mind are Kon Ichikawa’s 365 Nights (1948) and The Burmese Harp (1956), and The Spider Man (1958).

A remake appeared in 1961 under the title Edokko-hada, directed by Masahiro Makino. 

 

Thanks to A.K. 

Watch on my YouTube channel here (with English subtitles) 

Towering Waves / 波の塔 / Nami no to (1960)

Obscure Japanese Film #221

 

Ineko Arima and Masahiko Tsugawa

 

Wakako (Miyuki Kuwano), the daughter of corporation director and ministerial candidate Tazawa (Hiroshi Nihonyanagi), meets Onogi (Masahiko Tsugawa) by chance while exploring an ancient dwelling in Kamisuwa in Nagano Prefecture. Although she’s attracted to him, they go their separate ways and she assumes they’ll never meet again. However, sometime later she runs into him while he’s in the company of Yoriko (Ineko Arima), but Wakako is unsure about the nature of their relationship.

 

Miyuki Kuwano

 

It turns out that Yoriko and Onogi have been having an affair since they met by chance while watching a Russian theatre troupe perform The Lower Depths. When Onogi noticed that Yoriko, who happened to be sitting next to him, looked like she was going to vomit during the performance, Onogi – perhaps happy for an excuse to  leave – escorted her out, and their relationship began. 

 

Koji Nanbara and Kyoko Kishida

 

Yoriko is unhappily married to Yuki (Koji Nanbara), a political fixer who’s having multiple affairs of his own, including one with Hideko (Kyoko ‘Woman in the Dunes’ Kishida). Given that Onogi is a junior prosecutor, it’s no surprise that he ends up investigating Yuki in relation to a corruption case, and it just so happens that Wakako’s father is also involved, thereby guaranteeing much hand-wringing and misery for everybody involved…

 

Hiroshi Nihonyanagi

 

This Shochiku production was based on a novel by Seicho Matsumoto published the same year and contains so many unlikely coincidences that it should have received some kind of booby prize for Most Contrived Plot. However, the book was a best-seller in Japan and was also adapted for TV no fewer than eight times. It was also said to have been responsible for making the Aokigahara Forest at the base of Mount Fuji a popular suicide spot. 

 

Ineko Arima

 

One expects better from director Noboru Nakamura, best known these days for The Shape of Night (1964), which also starred Miyuki Kuwano, although it’s the underrated Ineko Arima who’s the top-billed star here. Unfortunately, they’re both wasted in this, as are the rest of a mostly strong cast that also includes talented character actors Sadako Sawamura (as Wakako’s mother) and Ko Nishimura (as a slippery lawyer). There are some nice shots here and there, but overall this is easily the least impressive of the nine Nakamura films I’ve seen so far.

DVD at Amazon Japan (no English subtitles)

Thanks to A.K.

Asu wa Nihon bare / 明日は日本晴れ (‘Tomorrow will be Fine Weather in Japan’, 1948)

Obscure Japanese Film #220

 

Michitaro Mizushima and Wakako Kunitomo

 

Like writer-director Hiroshi Shimizu’s earlier Mr Thank You (1936) and Dawn Chorus (1941), this film is set almost entirely in (or at times just outside) a bus and was shot on location. In this case, there are similarities with Maupassant’s famous story ‘Boule de Suif’, which had also served as the basis for Mizoguchi’s  Oyuki the Virgin (1935) and John Ford’s Stagecoach (1939) and had appeared in Japanese translation by 1938 (if not earlier). Although most internet sources credit Shimizu with the screenplay, the opening titles of the film credit Shin’ichi Sekizawa. ‘Mingo’ at Filmarks.com states that Sekizawa used John Steinbeck’s 1947 novel The Wayward Bus as inspiration, but points out that the film has little in common with it (other than the basic idea of a bus full of random people having their journey interrupted). 

 

Wakako Kunitomo

 

In any case, like Maupassant, Shimizu and Sekizawa throw together a motley assortment of characters to represent a microcosm of society – specifically, post-war Japanese society in this instance. The tart with a heart is Waka (Wakako Kunitomo), who happens to be an old flame of bus driver Seiji (Michitaro Mizushima), and was forced to prostitute herself during the war to provide for her sick father. Her presence is resented by bus conductress Sachi (Sachiko Mitani), who of course is in love with Seiji, but if this all sounds like a terrible bunch of old clichés so far, don’t let that put you off. 

 

Shinobu Araki

 

More unexpectedly, a former general (Shinobu Araki) is portrayed very sympathetically as a man carrying a burden of sincere guilt and attempting to make amends. Also on the bus are a masseur who was blinded in the war (Shin’ichi Himori), a porter who lost a leg in it (well played by real-life amputee Gosho Shoichi, who also appeared in Shimizu’s Children of the Beehive and its first sequel) and Mie, a teenage girl who was orphaned by it. Intriguingly, the only character portrayed in an unsympathetic light is a fortune-teller (Seijiro Mayama), who is depicted as lazy and selfish. Why Shimizu and Sekizawa chose a character of this particular profession to be so negative about we can only speculate, but my theory is that he represents the empty promises of a better future that were made to the Japanese people by their militaristic government; virtually everyone on the bus is in some way a victim of the misplaced trust they put in authority. 

 

Shin'ichi Himori and Gosho Shoichi

 

Running just over an hour and lacking any big stars, this might be a modest little movie, but Shimizu makes excellent use of the restricted setting and mountain road locations, while the acting is remarkably strong all round. It’s also a thoughtful film with a positive, humanist message, but it wears it lightly and Shimizu was not one to beat you round the head with it. 

 

Seijiro Mayama

 

If it seems surprising that a film by Hiroshi Shimizu should be quite so obscure, that’s because it was considered lost until 2022, when it was finally found in a Shochiku warehouse (strange, as it was an independent production distributed by Toho) and screened for the first time in 74 years.

Watch on my YouTube channel with English subtitles here. 

Thanks to A.K. 

Kirai Kirai Kirai / 嫌い嫌い嫌い / (‘Hate hate hate’, 1960)

 

Ichiro Sugai

 

Sojuro Shinkawa (Ichiro Sugai) is the elderly chairman of the Shinkawa conglomerate, a position which he was hoping his son, Sotaro (Kenji Sugawara), would succeed him in. However, Sotaro has rebelled and gone off to do his own thing, so Sojuro gathers the presidents of the six companies which make up the conglomerate and asks them each to select their most promising employee and send them to head office, where they will compete to marry his granddaughter, Kikuko (Atsuko Kindaichi), and the winner will be groomed to become the new chairman. 

 

Atsuko Kindaichi

 

The six men chosen run the gamut from the ultra masculine Nagaoka (Ryuichi Ishii) with his impressive chest hair to the effeminate Hirose (Kanji Matsumoto), who drinks only milk, a thermos of which he always carries with him. Other candidates include Sakurai (future director Juzo Itami), who used to be friends with Kikuko as a child, the handsome and modest Tsujimoto (Jiro Tamiya), who appears to be the favourite, and coal miner Fukumitsu (Gen Mitamura), who is conflicted due to his secret love for co-worker Sumiko (Junko Kano)…

 

Jiro Tamiya

 

This Daiei production was based on a novel entitled Hana no sarariman (‘The Flower Salaryman’) by Keita Genji (1912-85), a writer well-known for this type of material whose work also provided the basis for many other films including Masumura’s Blue Sky Maiden (1957) and The Most Valuable Wife (1959). 

 

Junko Kano

 

Sachiko Hidari

For me, the main appeal was that it provided a rare chance to see another film by Hiroshi Edagawa, whose Roses Bloom on The Rose Bush (1959) I liked so much. However, this one is less interesting as it’s basically a piece of fluff, albeit a well-made one which is not unentertaining. It’s an ensemble piece with no real star at the centre, although Jiro Tamiya and Junko Kano were both beginning to get popular at the time and Sachiko Hidari also appears prominently, although in a role that has little bearing on the story, while Kazuko Matsuo pops up singing the title song in a nightclub (to which you can listen on YouTube here). Even Bokuzen Hidari makes an appearance as one of the company presidents - which may well be the most untypical role he ever played. Anyway, for the most part, it's a pleasant enough time-passer, though the gay stereotyping of Kanji Matsumoto’s character is regrettable. 

 

Bokuzen Hidari

 

A note on the title:

Kirai can also be translated as ‘I hate it’, ‘I hate you’, etc, so the tag line on the Japanese posters should probably be read as ‘I hate him because he’s handsome! I hate him because he’s rich! I hate him because he has chest hair! Is that really true?’

 

Kazuko Matsuo

 Watched with dodgy subtitles.