#Hisako Yamane

[thekimonogallery]

"Light Snow" with Yukiko Todoroki and Hisako Yamane

[byneddiedingo]

Kinuyo Tanaka in The Life of Oharu (Kenji Mizoguchi, 1952)

Cast: Kinuyo Tanaka, Tsukie Matsuura, Ichiro Sugai, Toshiro Mifune, Toshiaki Konoe, Kiyoko Tsuji, Hisako Yamane, Jukichi Uno, Eitaro Shindo, Akira Oizumi, Kyoko Kusajima, Masao Shimizu, Daisuke Kato. Screenplay: Kenji Mizoguchi, Yoshikata Yoda, based on a novel by Saikaku Ihara. Cinematography: Yoshimi Hirano. Production design: Hiroshi Mizutani. Film editing: Toshio Goto. Music: Ichiro Saito. 

Oharu (Kinuyo Tanaka) is by turns a lover, a concubine, a courtesan, a servant, a wife, a prostitute, and a nun, which in the 17th-century Japan of Kenji Mizoguchi's film is almost everything a woman could possibly be. But Tanaka's great performance individualizes Ohara, keeping her from just being a representative figure, a stand-in for Woman. Over the course of the film, Oharu suffers almost every indignity that could be inflicted on her: At the court in Kyoto where she is a lady in waiting, she falls in love with a page, Katsunosuke (Toshiro Mifune), but when their affair is discovered, she and her parents are expelled and he is beheaded. One day a courtier for a powerful feudal lord comes to the village where they are exiled: The lord is in need of an heir, and his wife is barren. Oharu fits his rather exacting specifications to the letter, so she is brought to his palace where she bears him a son, but she's not allowed to nurse the child and is expelled from the household by his jealous wife. She goes to work as a courtesan to pay off the debts incurred by her greedy father (Ichiro Sugai), takes a job as maid to a woman who suspects her of sleeping with her husband, marries a man who is killed by robbers, and becomes a Buddhist nun but is expelled from the temple for supposedly seducing a man who was actually trying to rape her. Years pass and she loses her beauty and now walks the streets to earn money to survive, but she is subjected to scorn and mockery as a "goblin cat" by a man leading a group of young pilgrims. Hope dawns when she is summoned to meet her son, who has succeeded his father as lord, but it turns out that the officials in the court really want to cover up the fact that their lord's mother has been a prostitute, so she runs away after only a brief and distant glimpse of him. At the end she wanders the streets as an itinerant nun receiving alms in exchange for prayers -- her prostitution is now spiritual rather than physical. It's easy to take a synopsis like this and dismiss the story as "lachrymose as a soap opera," and "a reverse Horatio Alger adventure," as a particularly obtuse New York Times review did when The Life of Oharu was first released in the United States in 1964. It is neither of those things, of course. Even the Times reviewer was struck by Tanaka's performance, Mizoguchi's direction, and Yoshimi Hirano's cinematography, without understanding how or why these elevate the story into art. The story comes from a 17th-century novel by Saikaku Ihara, The Life of an Amorous Woman, a work far more erotic and picaresque than the melancholy screenplay Mizoguchi and co-screenwriter Yoshikata Yoda derived from it. The Life of Oharu is unremittingly grim -- it put me in mind of the novels of Thomas Hardy, whose characters suffer more than seems absolutely necessary for the author to make his point about the workings of fate. But the film is not about suffering; it's about strength, and women's strength in particular.  

[criteriondiary]

The Moon Has Risen

「月は上りぬ 」田中絹代

Directed by Kinuyo Tanaka • 1955 • Japan Starring Chishu Ryu, Shuji Sano, Hisako Yamane

主題

奈良で暮らす三姉妹が、嫁いでいく物語

お前、俺のこと好きか？ ーー好き 大好きか？ ーー大好き

小津安二郎は、これを本当に書いたのか？節子と昌二が喧嘩をするシーンで、ドラマチックな曲が無理やりのように挿入される。ドラマを無理やり作ろうとするクローズアップが見ていて、痛々しい。

節子役の北原美枝（石原裕次郎の妻）の演技も、厳しい。もう少し、余裕を持って演じさせた方が、物語に深みが出ると思うが、そんな余裕は、田中監督にはなかったのかもしれない。小津が本を書けば、どうしても、小津と比べてしまうので、それはそれで、プレッシャーだったのかもしれない。

２０２１年にこれがカンヌで上映されたようだが、最後の昌二の強引なセリフなどは、現代の西洋人に理解できるのだろうか。。。今の日本人でもきついのでは。。。

[gonagaiworld]

L'anime televisivo Re:Monster rivela altri membri del cast principale e la première del 4 aprile Aya Yamane, Nichika Omori, Hibiku Yamamura, Miyuri Shimabukuro, Hisako Tōjō entrano a far parte del cast. Info:--> https://www.gonagaiworld.com/lanime-televisivo-remonster-rivela-altri-membri-del-cast-e-il-debutto-del-4-aprile/?feed_id=435798&_unique_id=65e0bb11954d7 #Anime #LightNovel #ReMonster #StudioDEEN

[genevieveetguy]

The Moon Has Risen (Tsuki wa noborinu), Kinuyo Tanaka (1955)

[badmovieihave]

Bad movie I have The Life of Oharu 1952

[adscinema]

The Moon has Risen (Tsuki Wa Noborinu) - Kinuyo Tanaka (1955)

https://wfpp.columbia.edu/pioneer/kinuyo-tanaka/

[tatsuyamifune]

[pkjd]

Sora Yori mo Tooi Basho TV anime cast adds Mamiko Noto, Youko Hikasa, Lynn, Hisako Kanemoto, Kaede Hondo, Sayaka Ohara. The ending theme will be performed by the main cast. Series premiere January 2nd.

-Staff-

Director: Atsuko Ishizuka.

Series Composition, Script: Jukki Hanada

Character Designer: Takahiro Yoshimatsu

Chief Animation Director: Takahiro Yoshimatsu

Art Director: Saho Yamane

3D Director: Daisuke Kusaka

Art Setting: Akihiro Hirazawa

Color Setting: Harue Oono

Director of Photography: Hiroki Kawashita

Sound Director: Jin Aketagawa

Sound Effect: Tsutomu Ueno

Music: Yoshiaki Fujisawa

Animation Production: Madhouse

-Cast-

Mari - (CV: Inori Minase)

Shirase - (CV: Kana Hanazawa)

Hinata - (CV: Yuka Iguchi)

Yuzuki - (CV: Saori Hayami)

Mamiko Noto

Youko Hikasa

Lynn

Hisako Kanemoto

Kaede Hondo

Sayaka Ohara

Source: http://yorimoi.com/

[andheaventoo]

西鶴一代女/The Life of Oharu (1952)

[thekimonogallery]

Still from 1950 movie "Snow". Director Yutaka Abe. Yuko Todoroki on the left and Hisako Yamane on the right

[byneddiedingo]

Ken Uehara and Kinuyo Tanaka in Yotsuya Kaidan (Keisuke Kinoshita, 1949) Cast: Kinuyo Tanaka, Ken Uehara, Osamu Takizawa, Keiji Sada, Hisako Yamane, Jukichi Uno, Aizo Tamashima, Choko Iida. Screenplay: Eijiro Hisaita, Masaki Kobayashi, based on a play by Nanboku Tsuruya. Cinematography: Hiroshi Kusuda. Production design: Isamu Motoki. Yotsuya Kaidan is one of the most famous Japanese ghost stories, put in classic form in the kabuki drama written by Nanboku Tsuruya in 1825. But in adapting the tale of a ronin, a masterless samurai, pursued by the vengeful phantom of the wife he murdered, Keisuke Kinoshita and his screenwriters, Eijiro Hisaita and the uncredited Masaki Kobayashi, jettisoned the supernatural elements to turn it into a psychological drama with overtones of Shakespeare tragedy: the ambition of Macbeth and the jealousy of Othello, abetted by an Iago-like villain. The ronin of Kinoshita's film, Iemon Tamiya (Ken Uehara), was dismissed by his former master for failing to guard the storehouse from a thief; he now ekes out a living with his wife, Oiwa (Kinuyo Tanaka), making and selling umbrellas. But while drowning his sorrows in sake one evening, he is approached by Naosuke (Osamu Takizawa), who plants in him the idea of wooing the wealthy Oume (Hisako Yamane), whose father has the connections that would enable him to find a master and restore his status as a samurai. Naosuke also plots with Kohei (Keiji Sada), with whom he served some jail time, to woo Oiwa, with whom Kohei has been infatuated since the days when she worked in a teahouse. Kohei's attentions to Oiwa arouse Iemon's jealousy, which Naosuke plays upon. As the prospect of marrying Oume becomes more likely, Iemon is given a poison to use on Oiwa, but he's initially reluctant to go that far. When Oiwa accidentally scalds her face, producing a horrible disfigurement, Naosuke provides an "ointment" that puts her in terrible pain and Iemon administers the poison. In the turmoil that follows Oiwa's death, Naosuke also kills Kohei. Freed to marry Oume, Iemon finds himself tormented by a guilty conscience, and when he learns that Naosuke was the one who robbed the storehouse that led to Iemon's dismissal by his former master, he turns on the conspirator. A fiery conclusion results. Kinoshita released the film in two parts, the first running for 85 minutes, the second for 73 minutes. Part I is more tightly controlled, efficiently introducing its characters -- there are lots of secondary ones, including Oiwa's sister, Osode (also played by Tanaka), and her husband, Yomoshichi (Jukichi Uno), who provide a kind of grounding in normal life. Kinoshita is not as successful at marshaling all of the secondary plots in Part II, and I tend to blame the director's tendency to sentimentalize, including the search of Kohei's mother for her son, for the weaknesses in the later parts of the film. But he gives his characters depth -- there is more sympathy for Iemon in the film than in more traditional versions of the story, which has been filmed many times. 

[ozu-teapot]

The Life of Oharu - Kenji Mizoguchi - 1952

Hisako Yamane, Kinuyo Tanaka

[pkjd]

Sora Yori mo Tooi Basho TV anime PV2. Series premiere January 2nd.

-Staff-

Director: Atsuko Ishizuka.

Series Composition, Script: Jukki Hanada

Character Designer: Takahiro Yoshimatsu

Chief Animation Director: Takahiro Yoshimatsu

Art Director: Saho Yamane

3D Director: Daisuke Kusaka

Art Setting: Akihiro Hirazawa

Color Setting: Harue Oono

Director of Photography: Hiroki Kawashita

Sound Director: Jin Aketagawa

Sound Effect: Tsutomu Ueno

Music: Yoshiaki Fujisawa

Animation Production: Madhouse

-Cast-

Mari - (CV: Inori Minase)

Shirase - (CV: Kana Hanazawa)

Hinata - (CV: Yuka Iguchi)

Yuzuki - (CV: Saori Hayami)

Mamiko Noto

Youko Hikasa

Lynn

Hisako Kanemoto

Kaede Hondo

Sayaka Ohara

Source: http://yorimoi.com/