kazuo_hasegawa - Synonyms for kazuo_hasegawa

Examples of "kazuo_hasegawa"
Filmography of Kazuo Hasegawa include (incomplete):
In its heyday, Daiei featured such talent as the actors Raizō Ichikawa, Shintaro Katsu, Kazuo Hasegawa, Fujiko Yamamoto, Machiko Kyō, and Ayako Wakao; the directors Kenji Mizoguchi, Kon Ichikawa, Yasuzo Masumura, and Kenji Misumi; and the cinematographer Kazuo Miyagawa.
Born in Tokyo, Yasui first joined a troupe led by Kazuo Hasegawa. He entered the Nikkatsu studio in 1954 and made his debut in a film scripted by Yasujirō Ozu. After starring in "The Burmese Harp", he starred with his own family in the television show "Chako-chan". He joined the Gekidan Shinpa troupe and become a main actor in their stage productions.
During a strike at Toho in 1948 Fujita, along with Denjiro Ōkochi, Kazuo Hasegawa and other members of the so-called "Flag ten" secession union broke away to form a new studio, Shintoho (New Toho). This reorganization ended Fujita's collaboration with Kurosawa. At Shintoho, he appeared in several melodramas and action films.
Yamada debuted as a film actress in 1930 at age twelve, appearing in a Nikkatsu film, "Ken o Koete", opposite Denjirō Ōkōchi. She soon became one of Nikkatsu's top actresses, but it was her strong portrayals of two rebellious modern girls in Kenji Mizoguchi's "Osaka Elegy" and "Sisters of the Gion" in 1936 at the new Daiichi Eiga studio that earned her popularity and critical acclaim. Moving to Shinkō Kinema and then to Toho, she starred in a series of films with Kazuo Hasegawa, such as Mikio Naruse's "Tsuruhachi Tsurujirō" (1938) and Masahiro Makino's "Kinō Kieta Otoko" (1941), that made her a major star.
As previously mentioned, Daiei’s management intended from the start to position Raizō as a successor to the star Kazuo Hasegawa, and it “proceeded smoothly along the tracks.” Tokuzō Tanaka shared the opinion that Katsu, who was the first of the two to make his debut, was “like a second helping of Hasegawa” when he played an attractive young man in his white-faced film makeup; but as the director and supporting cast could hardly be described as first-rate, it was a long time before Katsu managed to become a real success.
"An Actor's Revenge" is a remake of the 1935 film of the same title (distributed in English-speaking countries as "The Revenge of Yukinojō"), which also starred Kazuo Hasegawa. The 1963 remake was Hasegawa's 300th role as a film actor. The screenplay, written by Ichikawa's wife, Natto Wada, was based on the adaptation by Daisuke Itō and Teinosuke Kinugasa of a newspaper serial originally written by Otokichi Mikami that was used for the 1935 version. There is an opera, "An Actor's Revenge", with music by Minoru Miki and libretto by James Kirkup and a 2008 NHK production of the same story, with Yukinojō and Yamitaro played by Hideaki Takizawa.
The adult Yukitarō (Kazuo Hasegawa) becomes an "onnagata", a male actor who plays female roles. He takes the stage name Yukinojō. Like many of the great "onnagata", particularly of the seventeenth and eighteenth centuries, he wears women’s clothes and uses the language and mannerisms of a woman offstage as well. Many years later, the troupe pays a visit to Edo, where the men responsible for his parents’ deaths now live. Yukinojō brings about their deaths, then, apparently overcome by what he has done, retires from the stage and disappears. No one knows where. The events are coolly observed and sardonically commented on by the Robin-Hood-like thief Yamitarō, also played by Hasegawa.
In 1931, she left Kyoto Prefectural Suzaku Senior High School to join the Takarazuka Revue. Shidare Itoi and Tomiko Hattori also joined the company at the same time. These Japanese beauties became very popular. In 1937, she left Takarazuka and had her debut as Otsu in the Nikkatsu production "Musashi Miyamoto: Earth Scroll". It is said this was revenge by the four existing film companies (Shochiku, Nikkatsu, Shinko Cinema, and Daito Film) against Toho's Kazuo Hasegawa. While shooting "Edo no Arawashi" (1937), she met Nikkatsu director Masahiro Makino. She married him in 1940. The same year, her eldest son, Masayuki Makino, was born.
Raizō made his film debut on August 25, 1954 in "The Great White Tiger Platoon" ("Hana no Byakkotai"). While Raizō had been held back in the world of kabuki by the circumstances of his parentage, he was treated with great respect in the world of film, as the son of Ichikawa Jukai III, president of the Kanto Kabuki Guild. Daiei's management intended to position Raizō as a successor to the popular Kazuo Hasegawa, and gave Raizō the starring role in his fifth and sixth films, "The Young Swordsman" ("Shiode Kushima Binan Kenpō"), released December 22, 1954, and "The Second Son" ("Jinanbō Garasu"), released January 29, 1955.
In 1955, two years after his film debut, Raizō received great attention for his portrayal of Taira no Kiyomori in "Shin Heike Monogatari", released on September 21 of that year. Tokuzō Tanaka, director of 16 of Raizō's films, stated that at first it seemed as though it would be difficult to make Raizō into a great success, but that impression changed instantly with "Shin Heike Monogatari". Kazuo Ikehiro, who directed another 16 of Raizō's films, said that until that point it had seemed that Raizō was simply imitating Kazuo Hasegawa, but bit by bit his innate acting talent had begun to shine through. The film critic Tadao Sato wrote that until now Raizō had "portrayed only handsome young samurai and yakuza, as though following in the footsteps of Kazuo Hasegawa" but that now he "has come to be a distinguished actor worthy of high praise, giving fresh performances in elegant dramas, rather than only performing in "chanbara" – samurai films with an action focus"." In the wake of "Shin Heike Monogatari", Raizō performed in over 10 films released in the period of a single year. He worked tirelessly, giving up holidays and weekends to continue filming.
Kinugasa was among the pioneers of Japanese film, but began his career as an actor specializing in female roles (onnagata) at the Nikkatsu studio. When Japanese cinema began using actresses in the early 1920s, he switched to directing and worked for such producers as Shozo Makino before going independent to make his best known film, "A Page of Madness" (1926). Also called "A Crazy Page", or "A Page Out of Order", it was lost for 45 years before the director rediscovered it in his shed in 1971. A silent film, Kinugasa released it with a new print and score to world acclaim. He also directed the film "Jujiro" (known as "Crossways", "Crossroads", and "Slums of Tokyo" in English) in 1928. He directed jidaigeki at the Shochiku studios, where he helped establish the career of Chōjirō Hayashi (later known as Kazuo Hasegawa). After the war, he helmed big-budget costume productions for Daiei studios.
Born in Ehime Prefecture, Mori graduated from Kyoto University before joining Nikkatsu's Uzumasa studio in 1933. A favorite of the producer Masaichi Nagata, he followed him to Daiichi Eiga and Shinkō Kinema before getting a chance to direct in 1936 with "Adauchi hizakurige". When Shinkō Kinema was merged with other studios to form Daiei Film, Mori became one of Daiei's core directors of genre films, making primarily samurai films with stars such as Raizō Ichikawa, Kazuo Hasegawa, and Shintaro Katsu. While not an auteur, he was a solid craftsman in the genre. After Daiei went bankrupt in the early 1970s, Mori continued directing "jidaigeki" on television. He directed over 130 films in his career. The National Film Center in Tokyo did a retrospective of his works in 2011 in celebration of his centenary.
According to Inoue, at the time of his debut, Raizō, along with Shintarō Katsu and Takeshi Hanayagi, received makeup instruction from the star Kazuo Hasegawa. The other two actors applied their makeup exactly as told, but Raizō alone had a number of points where he made personal alterations to the makeup plan. In particular, Raizō’s original designs could be seen in the makeup around his eyes and eyebrows. Furthermore, Raizō carried out the most important points of his makeup application himself, and wouldn’t allow anyone to see him while doing it. Inoue theorizes that the application of makeup was a crucial part of his process for immersing himself in a role, and thus he didn’t want to be observed while doing so.
Furukawa was born the sixth son of Baron Katō Terumaro (1863–1925), making him the grandson of Baron Katō Hiroyuki. The family custom, however, was to have the younger sons adopted by related families, so Furukawa was adopted by his father's sister and her husband, Furukawa Taketarō. His real name became Ikurō Furukawa (sometimes rendered "Ikuo"). He began attending Waseda University, but left before graduating in order to become a film critic and magazine editor. He worked under the pen name "Roppa". He was quite skilled at voice impersonation and eventually decided to become a professional comedian, forming in 1933 the comedy troupe "Warai no Tengoku" (Laughter Heaven) with Musei Tokugawa. He joined Toho in 1935 and, starring in stage revues and films, became nearly as popular as the other prewar comedic great, Ken'ichi Enomoto. His film work included many comedies, musicals, and a popular set of films co-starring Kazuo Hasegawa. After the war, his career went into decline as he began to suffer from various ailments, but he remained popular on radio. A skilled writer, his diaries were published to much acclaim before he died.