From the Showa to the Heisei era, Japanese movies have produced actresses and celebrities, so who is the number one actress in Japanese films?
The issue is constantly controversial, and fans do not give in to each other.
The most eye-catching actresses are the royal actresses of major directors.
For example, Hara Setsuko, who was used by Ozu Yasujiro, can be called the national goddess of the year;
▲Hara Setsuko (1920-2015)
Kenji Mizoguchi was not only an absolute big star of that era, but also became a benchmark for countless actresses;
Tanaka Atsuyo (1909-1977)
Hideko Takayama, who is 5 years old and has a changeable screen image, is also regarded as the most crying actress, and there is no one.
Hideko Takayama (1924-2010)
Yes, on the crying scene, no one can compare to Hideko Gao.
Watching Gao Feng Xiuzi shed tears, it seemed as if the sky was about to collapse.
Although the screen image is changeable, the role she plays can always touch people's hearts. She is one of the greatest actresses in the history of Japanese cinema and the most familiar Japanese actress of a generation.
Recently, the country introduced and published Hideko Gao's autobiography, "My Diary of a Crossing".
Nine years after her death, she is back in the spotlight. Today, I want to take good care of Amway, the movie goddess.
In 1929, the 5-year-old Hideko Gao entered the film industry. It is not only because of the compulsion of life, but also to fulfill a great wish of the adoptive mother.
Hideko's original surname was Hirayama, and her adoptive mother, Hirayama Shinamoto, was her aunt who had been an entertainer named "Hideko Takayama", so she was given this name directly.
As an actress, Hideko Takayama realizes her adoptive mother's dream of being an actor. She became a child actress early, but whether she liked acting or not became a question in her heart.
But these things were not at all up to her young to think about.
After the success of Hideko's debut novel Mother (1929), her adoptive mother continued to take on new plays for her, and until the age of 10, she even played many boy roles part-time.
Why? When Xiuzi's birth mother died of illness, in order to make ends meet, her biological father took her to her aunt to raise. Xiuzi, who grew up with her aunt since she was a child, witnessed the heartache of her adoptive mother.
This strong woman came to the metropolis with Hideko from her hometown of Hakodate, Hokkaido, and did not want to be abandoned by her wandering husband, and the mother and daughter have always been dependent on each other.
In order to make Hideko a big star in the future, her adoptive mother, Hirayama Shisa, even if life is hard, will make her eat enough and dress warmly.
In this way, the little show has become a cash cow for adults.
For her, acting is not liked or disliked, more often than not, it is a necessity for survival.
The money Xiuzi earns from filming actually supports a large family, and she prides herself on becoming a tool to earn money since she was a child, but looking at her adoptive mother, who also stayed up late to read the script for her and took care of everything, she did not dare to shout tired.
▲ Hideko Takayama, who worked as a clothing model for a magazine in her early years
Since she entered the industry, she has never stopped filming, which has also led to her not even completing school.
At that time, Hideko, like other children, looked forward to the most important stage at the beginning of her life: becoming a student.
Even if you don't learn to learn, making friends is the happiest thing in your child's heart.
However, her busy work delayed her dream of going to school. Until she joined the new Toho company at the age of thirteen, Hideko offered to continue her education.
In the end, although she walked into the door of the girls' school as she wished, she always felt that she was an uncultured person and would feel inferior because she could not get rid of this.
Perhaps because the adoptive mother never understood her true thoughts, the mother and daughter have always been estranged. But "poverty" tied the two together and spent their entire lives together until their adoptive mother died.
As a child actress, Hideko has a cute face, and many elders like her. At that time, the pop singer Hayataro tokai and his wife were such a couple. They received the mother and daughter and adopted Xiuzi as a righteous daughter, while the adoptive mother Hirayama Shikatsu slowly became their family's nanny.
▲ Girls' Generation Hideko and Tokai Hayataro
For Xiuzi, her adoptive mother is still her dearest person, and she can't stand the couple's attitude towards her adoptive mother. In the end, the two mothers and daughters abandoned the glory and wealth and moved out.
No one thought that behind the scenes, the big star was in a difficult situation of running for life with his adoptive mother and living for the residence.
As Hideko grows up, the gap between her and her adoptive mother deepens.
Perhaps because her adoptive mother had too high expectations of her, Hideko was even looked at closely during adolescence. Her adoptive mother did not allow her to fall in love easily, which directly led to a broken love.
When she finally became a big star, her adoptive mother was even more conflicted and even hysterical about her. She bought jewelry for herself without permission and was reprimanded by her adoptive mother.
Discord with her adoptive mother became her unhappiness, and she laughed at herself for her indifference to family affection.
She will be uncomfortable with her biological father always visiting her and sneaking up on her to give her some souvenirs; she has never been able to forgive her biological brother for playing a cash cow on her;
She also couldn't understand why she had to bear the expenses of a large family since she was a child;
When she first met her in-laws, she would even envy her husband for having such a warm family. Perhaps it is not that she has no feeling for family affection, even if she has three pairs of parents (birth, maintenance, righteousness), she has never felt the taste of family affection.
Because of this, Hideko works hard and acts hard.
She wanted to escape from that unbearable family.
After becoming famous, Although Hideko was still the actress with insufficient savings, she made a bold decision: even if she sold her house, she would study in Paris.
She finally had the opportunity to escape far away, no longer facing the entanglement of the family, not exposed to the flash and the camera; and finally she could learn what she wanted to learn.
In 1951, she sold a house and went to Paris to study French. The remaining house she left to her adoptive mother, expecting that after half a year, the two might be able to reconcile as before.
Hideko who returned from France in 1952
Hideko's independence is the result of hard work. At first, her doubts about this job were gradually resolved after meeting her mentor. These mentors are the people who took her into the world of movies.
▲ Hideko Takashi, Naruse, Masayuki Sen
Because it was a child star debut, Xiuzi never thought about the problem of acting. She just had to do what the instructor wanted.
But as she grew up, she discovered that she didn't know how to act as a child. She confessed that "the acting skills of child stars are not yet artistic or technical, they are just monkeys in the hands of monkey people."
▲ Hideko and Hara Setsuko
Later, Shochiku relocated, and she also came to the big ship from Kamata, and had more opportunities.
In the process of working with other actresses, I really felt the gap, and was deeply moved by the acting skills of others, and even regarded the other party as the most respected sister, this person is Tanaka Atsuyo.
▲ "Sokata Sisters" (1950) with Tanaka Arishiro
In front of the stage, she regards Tanaka Asahi as an idol of her predecessors and urges herself to act seriously;
Behind the scenes; she believes that Tanaka Ishiro is a real "princess", her elegance and calmness, and her aesthetic of clothing are all admirable and enviable.
Standing next to Tanaka, Hideko even felt that she was a shabby.
Tanaka also took good care of Hideko, taking her to dinner, keeping her lodging, and giving her countless beautiful dresses.
Hideko, who left Hayataro Tokai's house, thought that she would fall into trouble again at that time, but she received a lot of assistance from Tanaka, and for her, being able to wear the clothes worn by the big star Tanaka was like a dream.
Hideko has played Tanaka's daughter and her sister, and the collaboration between the two has inspired Hideko.
In the 1950s, she continued to work with Tanaka as a pair of sisters in the film Sokata Sisters (1950). This is also The first time that Gao Feng has played the heroine of Ozu.
▲ The set of "Sokata Sisters"
At that time, there was a saying that if you could play in the work of director Ozu, it would be an "honor" for the actor; it even proved that you had all the secrets of being an actor.
In the face of the sudden honor, Hideko was happy and uneasy, because he was also known for being "very strict", and almost all the actors were afraid of him.
Ozu's royal male protagonist, Kasa Tomoharu (1904-1993)
On the set of Ozu, no one dared to be sloppy in the slightest.
The tense atmosphere also made Hideko a little flustered, and even she found that Ozu's royal actor, Kasa Chi-jin, was equally uneasy, and her whole body was trembling when acting.
But it is such a strict director, but after the film, he is particularly humorous, especially very tolerant of Xiuzi, and he will invite Xiuzi to come to his home and cook food for the guests.
Entering Ozu's calm world, Hideko's heart was greatly touched; after her success in Naruse's "Floating Clouds" (1955), Ozu also wrote a letter to congratulate her, and the two agreed to continue to cooperate in filming after Hideko was 40 years old.
▲ Ozu and Naruse
At that time, Hideko was already the royal actress of Naruse Mikio, and she worked with director Naruse 15 times.
Because Naruse was always silent and there were so few words on the set that people were frightening, she affectionately called Naruse "bad old man".
▲ Hideko and Naruse
And this "bad old man" is also the greatest director in the history of Japanese cinema who can shoot women. In Naruse's shot, Hideko Muse takashi is a mom Sang who steps up the stairs to hide her secrets;
When a Woman Walks Up the Stairs (1960)
Is a housewife who is implicit;
▲ "Confused" (1964)
It is the big lady who died for love;
Floating Clouds (1955)
She is a bohemian female writer.
▲ "The Book of Libertine" (1962)
They vary a lot, but the biggest commonality is authenticity.
According to Naruse, he hates all mannerism, so he appreciates the natural and profound things in Hideko.
▲ Hideko and Naruse, Masayuki Sen
Hideko understands that "the actor plays the truest lie".
For her, it is to turn her own "real" emotions into expressions and portray the lives of the characters in the work.
Presenting this reality with an observation of human nature, there is not a single viewer who is not moved.
However, it is inevitable that there will always be people who love to pick bones in eggs. At a funeral, Hideko was photographed in tears by a newspaper and was widely publicized the next day.
A university teacher said in the report: "Hideko Gao is exactly the same as the crying we see in the movie, is it possible that on that occasion, an actress should also show her acting skills?" 」
Hideko was amused and angry when she heard about it, "A preacher understands that acting skills can be so shallow? However, I can secretly rejoice that my performance expression is exactly the same as the real expression."
With her superb acting skills, she has become a muse actor of two major directors, Akio Naruse and Keisuke Kinoshita; coincidentally, she has collaborated with Naruse and director Kinoshita 15 times each.
Director Keisuke Kinoshita (1912-1998)
Compared to Naruse's deep handling, Hideko believes that Kinoshita is a cheerful and interesting director;
The difference between the two is also reflected in the style of the film, the same is written women, Naruse's film shows the deep face of women in the current situation, and the film also has the director's sympathetic attention;
Kinoshita's portrayal of women is spicy, whether it is the frank and ignorant Carmen in "Carmen Homecoming" (1951);
He is also the gentle and tenacious Teacher Hisako in Twenty-Four Eyes (1954).
The director is more like an observer, capturing the warmth and cold of the little people in these women.
Hideko confesses that getting along with Kinoshita makes her more relaxed and happy. And this cheerful director, who often encouraged her and brought her courage, was not only her mentor, but also contributed to the important marriage in her life.
Before the real marriage came, Hideko had never really tried the taste of love.
Because her adoptive mother is particularly strict in this regard, sometimes she wonders: Is it because of her own emotional misfortune that she has interfered with her emotional life?
In short, there was such a "tragedy" staged earlier.
Hideko entered the show business circle since she was a child and has come into contact with many film crews. And the type of person she is most familiar with is probably the assistant director.
She recalls filming when she was a child, and the people who took her on the set were assistant directors. They are apprentices to directors, and from helping directors to cleaning the studio and caring for child actors, they must do it themselves.
So Xiuzi has always been followed by three or four assistant directors, and even she will use "flattery" to describe the assistant directors' care for the actors.
In this way, she formed an indissoluble relationship with the "deputy director".
This type of young man really works the hardest on set. But "eat bitterly, only to be a good person", after they have learned from their masters, they can become future great directors.
As she entered adolescence, she and an assistant director developed love for each other. This assistant director is the future "movie emperor" Kurosawa Akira.
▲ Akira Kurosawa in his youth
At that time, Hideko starred in "Horse" (1941) directed by Kajiro Yamamoto, and Akira Kurosawa became acquainted with Akira Yamamoto as an assistant director.
▲Kajiro Yoyamamoto
During a location shoot, Hideko was injured, and Kurosawa was very worried about her, and immediately took her back, even rushing to try medicine for her.
In Xiuzi's eyes, "a tall, hummer-like looking horrible person with clenched fists, sensitive personality, and short temper" slowly developed a wonderful connection with her.
▲ Akira Kurosawa is really tall...
Because of this incident, the two exchanged more, the relationship became more intimate, and they often exchanged letters.
However, what makes Hideko feel crying and laughing is that this tall man is completely a "straight man" who is bent on the movie dream.
Speaking of dating, once on the way back from the movie, Kurosawa was silent, staring directly at his feet, as if completely forgetting the existence of Hideko.
It was later learned that as soon as the man came home, he locked himself in his room and wrote the script, almost every night.
When it comes to writing love letters, Akira Kurosawa always truthfully explains his mood of writing the script in the letter, and there is no sense of romance to speak of.
But soon, the two's contacts were discovered by their adoptive mother.
Hideko once agreed to visit Kurosawa's house, but her adoptive mother knew. She breaks through the door, hysterical about Hideko, and attracts a crowd of onlookers.
The next day, the media rushed to report on this matter, and even some newspapers directly gave the headline "Akira Kurosawa and Hideko Takaboshi are engaged" in order to attract attention.
Faced with tricky public opinion, the studio decided not to let the two meet; Hideko was also placed under house arrest by her adoptive mother for a week; and for Kurosawa, who was still an assistant director, the slander hit him even harder.
Hideko was not dead-hearted, but Kurosawa, who was persuaded by the company, saw Hideko and did not escape, but treated her coldly and ruthlessly.
Hideko recalls Kurosawa's terrible expression and thinks, "One day, he will become a great director, I will wait silently from a distance, and I will become a real actor."
In this way, Hideko bid farewell to the love of youth.
After that, she seemed to have no hope for love, and decided to consider talking about marriage at the age of 30.
Behind the scenes, her young feelings came to an end. In front of the stage, she found that she had not acted in much love drama, except for the role of her daughter, that is, playing a wife and mother who had broken her heart after marriage.
Her only emotional drama, Floating Clouds, also ends in tragedy, which makes her unable to yearn for real-life love.
Even because of years of poverty, she thought to herself: If you get married, you must also marry a rich person, so that you don't have to act to earn money, and you can eat and drink at home every day.
▲Toshiro Wasanfune
However, the marriage that should come will still come. She did not marry a male superior, nor did she marry a rich man.
She found the man who understood her best.
This person is also an assistant director, and he is Keisuke Kinoshita's apprentice, Yoshizo Matsuyama.
▲ Zenzo Matsuyama and Hideko Takayama are sorting out the film film
In collaboration with Hideko, director Kinoshita introduced Zenzo Matsuyama. So Hideko paid more and more attention to the assistant director.
She believes that the most important thing about looking at a man is his work attitude. Men's attitudes at work are the most real, especially in the busy occasions of the film shooting scene, and their strengths and weaknesses are unconsciously expressed.
At that time, Matsuyama was such an excellent and diligent young filmmaker, who was deeply valued by Kinoshita.
▲Hideko, Matsuyama Kazukishita Keisuke (Middle)
During his time as an assistant director, Matsuyama wrote many scripts, and he participated in the screenwriting of all six parts (1959-1961) of Masaki Kobayashi's epic epic "Conditions on Earth";
He also wrote such masterpieces as "The Status of a Woman" (1962), "Confused" (1964), and "Trance Man" (1973);
After becoming a director, Matsuyama wrote and directed excellent films such as "The Bird with the Same Life" (1961), "Today's Noriko" (1981), "Mother" (1988) and so on.
However, what makes Hideko most liked is his lack of sophistication.
Once Xiuzi invited him to eat Western food, he did not even use the knife and fork at that time, so he said it frankly and asked Xiuzi for advice. Hideko thought, "Is there really such a straightforward and honest person in the world?"
Later, even Matsutaro Kawaguchi (a writer), who helped Hideko control the gate, said to Hideko:
"I'm really surprised, he's just born to be your husband, and I think you're really going well!" Hurry up and get married, there are very few people like him! I agreed."
In this way, with the support of everyone, the two held a wedding ceremony at 3 p.m. on March 26, 1955.
Although the money for the wedding was still enough for the money borrowed by the two of them, Hideko was happy and calm when she married Matsuyama.
Since she was a child, she earned money to support her family, and she understood the preciousness and dirtiness of money. For her, perhaps the most precious thing that has always been "being able to understand."
As she often remembered Junichiro Tanizaki's words: "My heart is unique, and no one can understand it except herself." ("Snow Queen's Night Talk")
She understood that she and her husband were one and the same kind of people. Matsuyama is the one who can really understand her, and in this way Hideko marries her love.
After marriage, the two have always respected each other as guests and loved each other as ever.
Watch movies together, make movies together, travel together, write together.
Grow old slowly together.
In 2010, Hideko Gao passed away. Six years later, Matsuyama followed suit.
This article was first published in the Adventure Movie: Cinematik
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