Tadao Sato is an
authority on Japanese cinema and somewhat of an intellectual outsider in Japan.
The translator’s (Gregory Barrett) introduction to his fascinating book,
Currents in Japanese Cinema (1982), says that he never went to college and
began writing when he was working for the phone company. Most of the essays are
from his first book, The Intellectual
History of Japanese Film (Nihon eiga
shiso-shi). Thus, he doesn’t have the baggage that most Japanese intellectuals
have who have written about film. He has more of a common man approach to film.
However, it is noted that he is progressive and critical of feudalism. This
means he has an ambivalent attitude toward the traditional culture of Japan.
The first
chapter Sato explains the origins of the two types of leading men in Japanese
cinema that originated in Kabuki (and alter perpetuated in shimpa dramas): tateyaku
and nimaime. Sato describes the tateyaku as characters that are noble,
idealized samurai. However, because these men were steeped in Confucian morals
which placed no value on romantic love-they put their loyalties to their lord
above those of any woman. Sato cites Toshiro Mifune as an example of this type
of leading man. The second type of lead nimaime
is described as being handsome and strong and pure in heart, but not
necessarily clever. Often this type of character gave the impression of being
frail and helpless. Sato discusses these types through time and suggests that
Tatsuya Nakadai is an example of the fusion of the two types of leading man in
his role in Masaki Obayashi’s The Human
Condition as influenced by foreign films, which is the emphasis of the
second chapter. In the third chapter, Sato discusses “Developments in the
Period Drama Films.” This starts with the new heroes: the nihilistic hero, the
free spirit hero, and Musashi Miyamoto. Then he goes onto discuss bushido and modern yakuza films. In chapter four he discusses film heroines: their
occupations, the unfortunate woman, beautiful women, women and karma, as well
as women and freedom. “Japanese War Films” are the focus of chapter five:
“”National Policy Films” that were required during the war effort and after
defeat, “The Postwar ‘Conversion.’”
Sato focuses on Akira Kuroswawa’s films in chapter six, “The Meaning of
Life in Kurosawa’s Films.” The following chapter, seven, focuses on ”The
Family”: “Kurosawa’s Fathers,” “Ozu’s Fathers,” and “The ‘Home Drama’
Genre.” Chapter eight looks at
“The Villain”: “The Change In His Image” and “Transfigurations Of Evil.” A discussion of “Cinematic Techniques”
is the focus of chapter nine. So naturally Sato begins with “Mizoguchi,” then
“Ozu,” and “Eye Behavior In The Films of Ozu and Naruse.” Sato looks at
“American-Japanese Relations in Film” in Chapter 10: the two themes are “The
Bomb” and “The Rashmen Genre,” (rashmen is a derogatory term applied to
Japanese women who become the mistress of a Westerner). “The book ends with
chapter 11: “Developments in the 1960s” and chapter 12: “Developments in the
70s.” In chapter 11 he discusses “The Background: Hani and Masumura,” “The
Rebel and the Criminal: Oshima,” “Evanescence And Humor: Suzuki,” “Sex And
Violence” and ends with “Cinematic Guerrillas.” The book includes two useful
Appendixes, I: “A Chronology”-with important event sin Japanese cinema highlighted
throughout the years and II: “An Interpretive Biography”-in which translator
Barrett highlights important events in Sato’s life that reflect his views on
Japan and cinema in light of his political thoughts and other events in life
that influenced his thinking.
Sato is particularly
valuable because of his extensive knowledge of Japanese, culture, history and
films in general. He makes many interesting insights into the films of leading
Japanese directors. I believe he was one of the early supporters of Seijun
Suzuki as well. It’s a pity more of his writings have not been translated into
English, I found his book on Mizoguchi also very informative and useful in
understanding that director’s oeuvre.
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