Fudotoku kyoiku koza / 不道徳教育講座 (‘Lectures on Immoral Education’, 1959)

Obscure Japanese Film #276

Shiro Osaka

Fujimura (Shiro Osaka) is an unrepentant criminal released from prison only to find two yakuza whose money he has stolen waiting for him outside. He flees and boards a train bound for Yamashiro, but they follow him onto the train. However, Fujimura finds that he has a doppelganger among the passengers and manages to swap clothes with him while he’s asleep in an effort to shake off his pursuers. It works, but when Fujimura reaches Yamashiro he realises that Bunpei Sagara (also played by Osaka), the man whose identity he has assumed, is a representative from the Ministry of Education whose mission is to deliver a lecture on the importance of morality and decide if the town is worthy of receiving a 10 million yen grant. The town’s VIPs queue up to kiss his butt and Fujimura continues to play the role of Sagara...

Yukio Mishima

If the basic plot of this Nikkatsu production sounds familiar, that’s because it’s an uncredited reworking of Gogol’s play The Government Inspector. However, the credited source is a series of essays by Yukio Mishima originally published in the weekly magazine Shukan Myojo, so it was presumably the screenplay authors (Atsundo Kubota* and director Katsumi Nishikawa) who came up with the idea of raiding Gogol for the storyline. The film retains the title of the essay series which, according to Japanese Wikipedia, ‘is modelled after Ihara Saikaku’s Twenty Unfilial Acts of Japan, which parodies the Chinese Twenty-Four Paragons of Filial Piety and contains carefully selected stories of “unfilial children”.’ Mishima’s essays, which were later collected in book form, have yet to appear in English, but were, apparently, humorous attacks on the hypocrisies of the time. In any case, he clearly approved of the film as he even appears in it as himself in a brief prologue and epilogue.

Hiroyuki Nagato

The upright facade presented by the town of Yamashiro soon proves to be a complete sham, and the place is populated largely by amoral eccentrics: two young students plotting the perfect murder, a high school girl raffling off her virginity, a middle-aged Christian housewife (Chieko Misaki) fantasising about her young muscleman driver, an anti-moral education protest group, and a nerd who claims to be a lady-killer (Pigs and Battleships’ Hiroyuki Nagato). 

Yumeji Tsukioka

The biggest star in the film, Yumeji Tsukioka, is absent for most of the picture but plays a TV star returning to her hometown to think about her future, while leading actor Shiro Osaka was usually found further down the cast list but acquits himself well in the comic double role. Director Nishikawa seems quite at home with all the absurdist comedy and keeps things moving at a steady pace.

Shiro Osaka

*Sometimes incorrectly translated as Atsuto Kubota.

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Chieko Masaki

Kaze no aru michi / 風のある道 / (‘Windy Road’, 1959)

Obscure Japanese Film #240

Izumi Ashikawa

Naoko (Izumi Ashikawa) is a young woman still living at home with her father (Shiro Osaka), mother (Toshiko Yamane) and younger sister Chikako (Mayumi Shimizu). Her older sister Keiko (Mie Kitahara) has just got married, and Naoko is expected to marry wealthy ikebana master Kosuke (Yuji Odaka). However, when she meets Kobayashi (Ryoji Hayama), a teacher of special needs children, she finds herself drawn to him despite the fact that he doesn’t have a pot to piss in…

Ashikawa, Yuji Odaka and Mayumi Shimizu

Ryoji Hayama

Based on an untranslated novel of the same name by future Nobel Prize winner Yasunari Kawabata which was published as a serial in a women’s magazine during 1957-58, this Nikkatsu production is the sort of material more usually associated with Daiei Studios. Although the plot hinges on one massively-unlikely coincidence, it’s not as contrived as some that I’ve seen and the film is generally a well-made and enjoyable watch. Having said that, it’s actually the parents who turn out to be the most well-rounded and interesting characters here, which I doubt was the original intention.

Toshiko Yamane and Shiro Osaka

Masayoshi Ikeda’s music is a slightly eccentric mish-mash of styles, but quite effective on the whole, and the rather cheeky audience-teasing climax even features a passage that sounds similar to John Williams’s famous cello piece from Jaws. Another memorable use of music in the film is the counterpoint provided by the upbeat tune which plays on the jukebox while Kosuke is getting Naoko drunk so that he can have his wicked way with her.

Mie Kitahara

It’s surprising to see Mie Kitahara in such a small role here as she was, I think, Nikkatsu’s top female star at the time, but it’s an example of how Japanese studios back then tried to squeeze as much out of the stars they had under contract as possible – Kitahara featured in seven films released in 1959, which was actually taking it easy in comparison to some. This film is, instead, a vehicle for Izumi Ashikawa, who was touted as Japan’s answer to Audrey Hepburn and was a decent if unremarkable actor. She married fellow actor Tatsuya Fuji in 1968 and promptly retired but is still with us at the time of writing at the age of 90.

Ashikawa and Yamane

The director of this film, Katsumi Nishikawa (1918-2010), was especially well-known for films based around female stars, the previously-reviewed A Portrait of Shunkin (1976) being a good example. He worked in a wide variety of genres but never quite made the top rank, although he’s one of the few directors to have his own museum (located in Tottori Prefecture – click here for further information).