Итикава Райдзо VIII

Итикава Райдзо VIII
Цзинань-бо Ханган (1955)
Родившийся	Акио Камезаки (1931-08-29)29 августа 1931 г. Киото
Умер	17 июля 1969 г. (1969-07-17)(37 лет) Токио
Другие названия	Ёсио Такеучи, Ёсия Ота, Итикава Энзо
Занятие	киноактер, актер кабуки
Активные годы	1954–1969

Итикава Райдзо VIII ( яп. 代 目 市 川 雷ach , Хатидайме Итикава Райдзо , 29 августа 1931 - 17 июля 1969) был японским актером кино и кабуки . Его имя при рождении было Акио Камезаки (亀 崎 章 雄, Камезаки Акио ) , ^[1] и его имя было юридически изменено несколько раз, сначала на Йошио Такеучи (武 内 嘉 男, Takeuchi Yoshio ) , а затем на Ёсия Ота (太 田 吉 哉, Ōta Yoshiya ). , отдельно от его исполнительского имени.

Через шесть месяцев после своего рождения в Киото он стал приемным сыном Итикавы Кудандзи III (三代 目 市 川 九 團 次, Сандайме Итикава Кудандзи ) . Он дебютировал в качестве актера кабуки в возрасте 15 лет под именем Итикава Энзо (市 川 延 蔵, Итикава Энзо ) . В 1951 году он был усыновлен Итикава Дзюкаем (三代 目 市 川 壽 海, Сандайме Итикава Дзюкай ) и был переименован в Итикава Райдзо VIII . В 1954 году начал карьеру киноактера. Он получил признание за свое выступление в Enj.и получил несколько наград за исполнение, включая премию « Голубая лента» и « Кинема Дзюнпо » в категории «Лучшее исполнение актера в главной роли». Поклонники ласково называли его «Рай-сама». В июне 1968 года ему был поставлен диагноз рака прямой кишки , и ему была сделана операция , но он дал метастазы в печень, и в следующем году он умер.

Итикава Райдзо появлялся в основном в исторических драмах ( дзидайгэки ). Он наиболее известен серией « Сонные глаза смерти» ( Немури Кёсиро ), серией « Ниндзя» ( Шиноби но Моно ) и серией « Школа шпиона Накано» ( Рикугун Накано Гакко ) (на основе школы Накано ). Райдзо много раз работал с режиссером Кендзи Мисуми . Их сотрудничество включает «Меч» ( Кен ) (из книги Юкио Мисимы ) и «Сын судьбы» (« Убить!» ).

Среди других великих работ - «Месть актера» ( Yukinojo henge ). Его так восхищали его грациозностью, что при жизни его называли «гением, мыслящим телом».

Биография [ править ]

Рождение и усыновление Итикавой Куданджи III [ править ]

Итикава Райдзо родился в приходе Накагьё в Киото 29 августа 1931 года. Во время его рождения его звали Акио Камедзаки . В шесть месяцев его усыновил Итикава Куданджи III, который переименовал его в Ёсио Такеучи . ^[2]

По словам кинокритика Рикия Таяма, подробности его усыновления таковы: когда мать Райдзо была беременна, отец Райдзо был переведен в Нара в качестве старшего стажера (幹部 候補 生, Канбукосэй ) в Императорской японской армии , оставив ее дома. дом его семьи. Его семья преследовала ее, и она пыталась обратиться к нему за помощью, но ее проигнорировали. Когда она больше не могла этого выносить, она сбежала в дом своей собственной семьи, где родился Райзо. ^{[3] [4]}Отношения между ней и ее мужем испортились, мать Райдзо намеревалась вырастить его самостоятельно. В этот момент она получила неоднократные прошения от зятя ее мужа, Итикавы Куданджи III, разрешить ему вырастить ребенка. Сначала она отказалась от этих предложений, но в конечном итоге уступила, и Куданджи официально усыновил Райзо в возрасте шести месяцев. ^{[5] [4]} Райзо не знал о своем усыновлении, пока ему не исполнилось 16 лет, и он не встречался со своей матерью лично, пока ему не исполнилось 30 лет. ^[6]

Дебют в Кабуки (1934 - май 1949) [ править ]

В 1934 году, примерно через два года после его усыновления Итикавой Кудандзи III, Райдзо переехал из Киото в Осаку . Куданджи не обучал его актеру кабуки в детстве ^[7], но в 1946 году, когда он учился на третьем и последнем курсе средней школы Тэннодзи префектуры Осака, Райдзо решил уйти из школы, чтобы продолжить актерскую карьеру. ^{[† 1] [8] [9]}

В ноябре 1946 года, в возрасте 15 лет, Райдзо дебютировал в театре Кабукиза в Осаке под именем Итикава Энзо III (Кудандзи ранее использовал имя Итикава Энзо II). ^{[10] [11]} Его первой ролью была роль леди Оханы ( Musume Ohana ) в пьесе Накаямашичири .

В мае 1949 года, чуть более чем через два года после своего первого выступления, Райдзо сформировал учебную группу с двумя другими молодыми исполнителями кабуки. Это были Ришо Араши (известный позже в своей карьере кабуки как Араши Кичисабуро VIII и как Ятаро Китагами в его актерской карьере) и Накамура Таро II. Они назвали эту группу Цукусикай (つ く し 会) , что можно перевести как «исчерпывающая встреча», и вместе они усердно сосредоточились на тренировках. ^[2]Однако было одно препятствие, которое это обучение не могло преодолеть: Куданджи был сыном члена небольшого политика в Киото, а не актером кабуки, и был отдан в ученики (актеру, известному как Итикава Саданджи II) только из-за Собственное сильное желание Куданджи войти в мир кабуки. Таким образом , Kudanji навсегда обозначен как montei Agari - кто - то родился и вырос за пределами мира кабуки и его «родословной» и позже ученье в него - и обречены никогда не превышать вспомогательную роль. ^[12] В таком случае, независимо от того, насколько усердно тренировался Райзо, он вряд ли получит заслуживающие внимания роли исполнителя кэнмона, пока он останется сыном Куданджи.

Принятие Итикавой Дзюкаем III (июнь 1949 г. - июнь 1951 г.) [ править ]

В 1949 году, в тот же период, когда Райдзо основал Tsukushikai, директор театра кабуки по имени Tetsuji Takechi разыскивал молодых талантливых исполнителей кабуки, чтобы они присоединились к его традиционной труппе Tetsuji Kabuki. ^{[† 2] [2]} Члены Цукусикай участвовали в этой труппе и таким образом познакомились с Тецудзи. ^[2] Тетсудзи очень высоко ценил актерские таланты Райдзо, но понимал, что, пока он будет известен как сын Куданджи, он никогда не сможет по-настоящему сиять в мире кабуки, и его талант будет потрачен зря. ^[13] С этой целью Тецудзи составил план, чтобы Райдзо взял имя Накамура Джакуэмон (中 村 雀 右衛門)., который не использовался в течение четверти века, но Накамура Джакуэмон III, который больше не выступал, но все еще был жив, был недоволен неспособностью Райзо получить настоящее признание и отказался разрешить использование имени. ^{[14] [13]}

После этого известно, что Тецудзи намеревался обучить Райдзо у бездетного Итикава Дзюкая III (三代 目 市 川 壽 海, Сандайме Итикава Дзюкай ) . ^[15] В декабре 1950 года Итикава Дзюкай III присутствовал на собрании Цукусикай в качестве наблюдателя. Он был очень впечатлен игрой Райдзо в роли Минамото-но Ёриэ в пьесе « Сюдзэндзи Моногатари» . ^[2] Дзюкай был сыном мастера кимоно и, таким образом, не имел никакой связи с миром кабуки через свою родословную, но, несмотря на это, благодаря огромным усилиям с его стороны, Дзюкай стал довольно известным в Кансай.сцена кабуки во время и после Второй мировой войны. К тому времени, когда он встретил Райдзо в 1950 году, Дзюкай стал президентом Гильдии актеров Кансай Кабуки, имеющей большое влияние. ^[16] Кроме того, имя «Дзюкай» было присвоено Итикава Дзюкай III обоими актерами, которые использовали его раньше: Итикава Дандзюро VII и Итикава Дандзюро IX ; ^[17] и ему даже было разрешено использовать «Наритая» (成 "屋) и« Котобуки Эби » (壽 海 老) яго и камон, традиционно используемые главой линии Итикава. ^{[† 3] [18]}С помощью некоторых общих друзей Тецудзи добился успеха в своих усилиях, и Джукай согласился официально усыновить Райдзо. ^[19] В этот момент Дзюкай хотел дать Райдзо имя Итикава Синдзо (市 川 新 蔵) , имя, имеющее глубокие корни в доме Итикава, уходящем корнями в 1600-е годы, но главный секретарь кабинета дома Итикава, Итикава Эно II , яростно боролся против этого желания, заявив: «Мы не можем дать имя с такими глубокими семейными связями какому-либо неизвестному исполнителю из неизвестной линии». ^{[† 4]} После долгих переговоров они наконец остановились на имени «Итикава Райдзо». ^[20]Принятие было завершено в апреле 1951 года, а церемония преемственности имени «Итикава Райдзо» была проведена в июне того же года. ^{[21] [22]} По словам кинорежиссера Кадзуо Икэхиро, примерно в это время начали циркулировать слухи, что Итикава Дзюкай III на самом деле был биологическим отцом Райзо. ^[23]

После второго усыновления официальное имя Райзо также было изменено на Ёсия Ōта . ^{[21] [22]} Это имя было выбрано самим Райзо, так как он устал от того, что его судили по его нынешней фамилии. ^[24] По словам Акинари Судзуки, президента студии Daiei Kyoto Studio , Райзо часто советовал окружающим подумать об изменении своих имен, и говорят, что от 20 до 30 человек, связанных с киностудией, сделали это по рекомендации Райзо. ^[24] Фактически, Масако Нагата, женщина, на которой Райдзо в конечном итоге женился, изначально была названа Кёко, и изменила свое имя после того, как Райдзо предложил ей это сделать. ^[25]

Переход в кино (июль 1951 - 1957) [ править ]

Райдзо стал приемным сыном Дзюкая в 1951 году, но Дзюкай считал, что 20-летний Райдзо был еще слишком молод, чтобы брать на себя главные роли, и придерживался политики, давая ему пока лишь второстепенные роли. ^[26] В результате этого Райдзо решил продолжить карьеру в кино в 1954 году и присоединился к киностудии Daiei . ^[27]

Что касается своего перехода в кино, Райзо утверждал, что сделал это просто потому, что это казалось хорошей возможностью, и он хотел попробовать это. ^[28] Рикия Таяма сказал, что настоящая причина заключалась в том, что Райдзо, недовольный обращением с ним на протяжении многих лет, был чрезвычайно расстроен, когда его представили идиотом без единой строчки в исполнении Коя Хиджири в Осаке Кабукиза в июне 1954 года. , ^{[† 5]} и решил навсегда покинуть мир кабуки. К счастью, он получил предложение от Daiei Films, которые намеревались сделать его звездой своих дзидайгэки - исторической драмы - и принял его, оставив мир кабуки ради кино. ^[29]С того времени вперед, Raizo выполняется только в одном кабуки игре: производство января 1964 Kanjinchō режиссер Тетсюджи Такечи в недавно завершенного Nissay театра , в котором он играл Yasuie Тогаси. По этому поводу Райдзо сказал: «В Кабуки ты бесполезен, если ты не старый. В кино ты бесполезен, когда стареешь. Пока я еще молод, я буду зарабатывать на жизнь кино, когда стал старше, попробую еще раз кабуки ". ^[30] После того, как он решил продолжить карьеру в кино, Raizo начал часто кинотеатр изучать выступления Yorozuya Kinnosuke в дзидайгэк производства по Toei . ^[31]

Райдзо дебютировал в кино 25 августа 1954 года в фильме « Взвод большого белого тигра» ( Hana no Byakkotai ). В то время как обстоятельства его отцовства сдерживали Райдзо в мире кабуки, в мире кино к нему относились с большим уважением, как к сыну Итикавы Дзюкая III, президента гильдии Канто Кабуки. Руководство Дайэя намеревалось позиционировать Райдзо как преемника популярного Кадзуо Хасэгавы и предоставило Райдзо главную роль в его пятом и шестом фильмах «Молодой фехтовальщик» ( Шиоде Кусима Бинан Кенпо ), выпущенном 22 декабря 1954 года, и «Второй сын» ( Дзинанбо). Гарасу ), выпущенный 29 января 1955 г. ^[32]

В 1955 году, через два года после своего дебюта в кино, Райдзо получил большое внимание из-за того, что сыграл Тайра-но Киёмори в фильме режиссера Кендзи Мидзогути « Шин Хайке Моногатари» , вышедшем 21 сентября того же года. Токудзо Танака, режиссер 16 фильмов Райдзо, заявил, что сначала казалось, что сделать Райдзо большим успехом будет сложно, но это впечатление мгновенно изменилось с появлением Шин Хейке Моногатари . ^[33] Казуо Икэхиро, снявший еще 16 фильмов Райдзо, сказал, что до этого момента казалось, что Райдзо просто имитирует Кадзуо Хасэгаву, но постепенно его врожденный актерский талант начал проявляться. ^[34] Кинокритик Тадао Сатописал, что до сих пор Райдзо «изображал только красивых молодых самураев и якудзу , как будто идущих по стопам Кадзуо Хасэгавы», но теперь он «стал выдающимся актером, достойным высокой похвалы, давая новые роли в элегантных драмах, скорее чем только выступление в чанбара - самурайских фильмах с акцентом на боевик . ^[35] Вслед за Шин Хейке Моногатари Райдзо снялся в более чем 10 фильмах, выпущенных в течение одного года. Он работал не покладая рук, отказавшись от праздников и выходных, чтобы продолжить съемка. ^[36]

У Райдзо были слабые ноги, и он часто терял сознание при стоянии или ходьбе. ^{[37] [38]} Масаёси Цучида, в то время глава отдела планирования Дайэя, сказал, что, должно быть, было невероятным приключением сыграть «Киёмори, юношу, пронзившего небеса» для физически хрупкого Райдзо. Райзо стеснялся слабости своих ног и вступил в клуб сумо в университете Дошиша , пытаясь тренировать и укреплять их ^[34], но это было бесполезно. Когда бы ни делались фотографии Райзо, сотрудники фотографа принимали особые меры предосторожности, чтобы кадрировать снимок таким образом, чтобы не было видно слабых ног Райзо. ^{[39] [40]} По словам Кенджи Мисуми., director of 18 of Raizō's films, Raizō deeply loathed the physical frailty of his body, but when he finally managed to overcome that loathing and accept himself he became capable of incredible composure.^[40]

Rise to Stardom (1958 – May 1968)[edit]

In 1958 Kon Ichikawa cast Raizō in the lead role of the film Enjō, based on the novel The Temple of the Golden Pavilion by Yukio Mishima. The film was released on August 19 of that year. According to Ichikawa, Hiroshi Kawaguchi was originally intended for the role, but Ichikawa argued against this selection based on an instinctive feeling that Raizō was the right choice for the role and ultimately succeeded in convincing the studio president, Masaichi Nagata, to cast Raizō instead.^[41] There was some resistance within the studio, as it was felt that a newcomer with a stammer should not be given such a large role in his second film with the studio,^[42] but he was ultimately given the part, stating "we need to give the young actor Ichikawa Raizō a chance if we want to make him into a success."^[43] Raizō rose to the occasion and gave an excellent performance. Ichikawa praised Raizō's acting, saying "I give it a perfect score, 100 of 100. There's simply nothing else to say."^[44]

It's often said that Raizō's performance in Enjō reflected his childhood. Ichikawa said, "He's expressing something of his true self through his performance," and "He's overcome something through his acting ... some sort of burden he had been carrying; and his indescribable life can be seen in his expression."^[45] Tokuzō Tanaka said that Raizō's complicated childhood had caused something like a base part of his heart to emerge, merging with and adding depth to his performance.^[46] Kazuo Ikehiro said that precisely because of this "hidden part of his childhood," or "base part of his heart," that Raizō was perfectly equipped for the performance.^[47] Once, when a member of the Daiei planning department named Hisakazu Tsuji mused aloud that he felt as though his performance in Enjō reflected Raizō's childhood, Raizō did not refute it.^[48]

For his performance in Enjō, Raizō received the Kinema Junpo Award for best male actor in a leading role, and the Blue Ribbon Award for best performer in a leading role, among others. Raizō's position as a star had been secured.^[49]

The Nemuri Kyoshirō series of films, which began in 1963 and are known as Sleepy Eyes of Death in the west, are considered to be the representative work of Raizō's later years. According to Tokuzō Tanaka, playing the part of the protagonist, Kyoshirō, was an extreme challenge for Raizō. Speaking of the first film in the series, Sappōchō, even Raizō himself said that "the characteristic 'hollowness' of Kyoshirō simply didn't come out at all" and deemed the film a failure.^[50] It wasn't until the fourth film, Joyōken, that Raizō succeeded in bringing the hollowness, dandyism and nihilism of the character to life.^[51] The actor Shintarō Katsu described Raizō's performance in the Nemuri Kyoshirō films, saying "When he was playing Kyoshirō he had a real animal magnetism about him, didn't he. Maybe you could say it came from this sense of the shadow of death hanging over him. It really is the face people make when they die, that expression." “When he’d walk by, Rai-chan would cut you with his face. Not with a sword, with his face,” he reminisced, “Rai-chan didn’t become Kyoshirō through his fight scenes or the delivery of his lines, he did it through his face; that’s my opinion, anyway.”^[52] Kazuo Ikehiro said, “without speaking, without any kind of facial expression, simply by the way he walked around as though he were carrying his past on his back”^[53] Akira Inoue, director of the seventh film in the series, Tajōken, said that there were other actors who played Kyoshirō, but none of them could compare to Raizō when it came to portraying Kyoshirō's soul.^[54] Raizō went on to hold the starring role in 12 films in the series, which represents a majority of the starring roles for which Raizō was cast.

According to Kazuo Ikehiro, as Raizō's experience as an actor accumulated he began to desire to take a larger role in film creation through directing. Ikehiro advised Raizō to pursue the role of producer, rather than director, as he would then be able to make decisions about subject matter, scripts, and casting in addition to direction.^[55] In January 1968, Raizō said “I want to assemble a new dramatic production, the likes of which has never been seen before,” and began the process of establishing a new theater company called “Teatoro Kaburaya” at which he would take a producer role, but as soon as it was founded he fell ill and the company never began operations.^[56] According to Seiji Hoshikawa, director of 14 of Raizō's films, Raizō said to Hoshikawa and Kenji Misumi, “Cinema might not have that much time left. Let’s stage a play sometime, the three of us. Let’s give a new job a shot,” and more specifically “Let’s try to capture Kawatake Mokuami’s works through a modern lens.”^[57]

The Final Years and Premature Death at Age 37 (June 1968 – July 17th, 1969)[edit]

In June 1968, while in the process of filming Seki no Yatappe, Raizō visited a doctor because of bloody stool, and was soon admitted to the hospital.^[58] The results of his examinations clearly indicated rectal cancer, but the diagnosis was not made known to Raizō.^[58][59] On August 10, Raizō underwent surgery and was released from the hospital,^[59] but his family received a prognosis from his doctor stating that Raizō would “relapse in about half a year.”^[58] Raizō had possessed a weak digestive system from birth,^[60] and had previously visited a doctor for the same symptoms in January 1961, after filming Kutsukake Tokijirō. At that time he had been told simply that “there is a wound in the rectum” when examined.^[60] There's also a record of him confiding to Tetsuji Takechi, “I’m tormented by diarrhea,” in 1964, at the occasion of his performance of Kanjinchō at the Nissay Theater.^[61]

After leaving the hospital, Raizo performed in the films Nemuri Kyōshirō: Akujo-gari (released January 11, 1969), and Bakuto Ichidai: Chimatsuri Fudō (released February 12, 1969), but his physical strength was rapidly dwindling, and they had to resort to a body double with voice-over for all of his scenes involving walking and movement.^[62] In February 1969, complaining of physical unwellness, Raizō was admitted to the hospital once again. After his second surgery Raizō was so weak that he couldn't swallow soup,^[63] but he deeply wished to play the role of a naval officer in the film Aa, Kaigun, and began talks with people related to the film. His recovery was not complete by the time filming began, and Daiei cast Nakamura Kichiemon II as a substitute in order to begin filming. After learning of the recast by reading it in the newspaper, Raizō never again spoke about work.^[64][63] He died several months later, on July 17, of liver cancer, at the age of 37. His funeral was held on July 23, at the Ikegami Honmon-ji temple in the Ōta ward of Tokyo. His grave is at the same temple.

It has been said that in the time before his death, Raizō deliriously entreated that nobody be allowed to see his face when he died.^[65] His wife, Masako Ōta, staunchly denies these claims, stating “Raizō never gave up on recovery, even until the end; he never even wrote a will.”^[66] Nevertheless, after his death Raizō's face was wrapped in two layers of white cloth, which remained in place even as he was cremated.^[67] According to Masako, Raizō had said only “I don’t want anyone to see how dreadfully thin I've become,” and because of that wish she had not allowed anyone aside from his adopted father, Jukai, and his company president, Nagata, to see his face after his death.^[63]

Raizō's final film, Bakuto Ichidai: Chimatsuri Fudō, was an example of the then-popular ninkyō eiga – pro-yakuza films – produced by Toei Studios. Raizō was reluctant to participate, saying “Should I just reheat the scraps left by Kōji Tsuruta?” – Tsurata being an actor well known for performing in such films – but Masayoshi Tsuchiya convinced him, saying “I’ll make sure you get the next role you want to play.” The following year Tsuchiya expressed deep regret that this role which Raizō had not wanted to play had become his last.^[34] In 1971, two years after Raizō's death, Daiei Studios filed for bankruptcy. Seiji Hoshikawa reflected on this, saying “Raizō’s death was a precursor to Daiei’s bankruptcy.”^[68]

Raizō's Legacy (July 17, 1969 – Present)[edit]

In 1974, five years after Raizō's death, a fan club called “Raizō-kai” was formed.^[69] This fan club is still functioning as of this writing in 2012. According to Masaki Matsubara, once president of Daiei Kyoto Studios, Raizō's fans were drawn in by his acting and his humanity, and thus, unlike many other stars of the time, his fanbase had the rare characteristic of having many intelligent and educated female fans. “You didn’t see the type that only squealed and caused a big fuss,” he said.^[70] The “Ichikawa Raizo Film Festival,” in which a selection of his films are shown, became an annual event, held each year on the anniversary of his death, July 17.^[71] From December 2009 until May 2011 an especially large event was held and his performances were screened to commemorate the 40th anniversary of his passing.^[72][73]

In 2000, Kinema Junpō published an article titled “Film Stars of the 20th Century: Male Actors.” Raizō placed 6th. In the same issue's “Readers’ Choice: Male Film Stars of the 20th Century" he was ranked 7th. In the 2014 list of “All Time Best Japanese Film Stars” he was ranked 3rd in the list of male actors.^[74]

In a 2014 blog post, Ichikawa Ebizō XI implied that the honorific name Ichikawa Raizō was under his care, and thus it can be seen as having been returned to the Ichikawa house and line following Raizō's death.^[75]

Family[edit]

Raizō married Masako Nagata, daughter of Masaichi Nagata, in a private wedding ceremony in 1962.^[76] She took his name, becoming Masako Ōta, and they had three children together.^[77] Raizō had told Masako “I never want [my family] in the public eye,” when he was alive,^[78] and she continued to uphold his wishes after his death^[79] until 40 years had passed, when a special issue of Bungeishunjū was published in 2009, featuring a memoir by Masako Ōta titled “A love letter to my husband, Ichikawa Raizo, 40 years later.”

Awards[edit]

Data taken from “雷蔵, 雷蔵を語る” (Raizō, Raizō ga Kataru)

• January 1959: Kinema Junpō – Best Performance by an Actor in a Leading Role (Enjō)
• February 1959: Blue Ribbon Award – Best Performance by an Actor in a Leading Role, NHK Film – Excellence in a Male Leading Role (Enjō, Benten Kozō)
• September 1959: Cinema Nuovo – Excellence in a Male Role (Enjō)
• November 1964: Tokyo Citizens’ Film Festival – Best Performance by an Actor in a Leading Role (Ken)
• February 1967: NHK Film – Excellence in a Male Leading Role, Kinema Junpō – Best Performance by an Actor in a Leading Role (Hanaoka Seishū no Tsuma)
• November 1968: Tokyo Citizens’ Film Festival – Best Performance by an Actor in a Leading Role (Hanaoka Seishū no Tsuma)
• November 1969: Tokyo Citizens’ Film Festival – Makino Shōzō Prize

Acclaim[edit]

Acting[edit]

The screenwriter Fuji Yahiro said of Raizō's manners, “Regardless of to whom he was speaking, he was always polite and proper, without arrogance or effusive emotion,” and that shone through in his acting style. According to Yahiro, “Even among the great number of jidaigeki actors, nobody else had his good manners – and I mean that in a good way – not a single other actor felt like a true bushi-like swordsman the way he did.”^[80]

Kazuo Ikehiro said that Raizō's childhood cast a “shadow of heartlessness” over him, and because of that a “shadowed part” and a “true background part" of his life were exposed. Moreover, they were not merely exposed, but thrust forward willfully, in Ikehiro's estimation.^[23] Kazuo Mori, the director with whom Raizō produced the greatest number of films, said that Raizo carried “a human pain of which he didn’t speak to anyone” which he sublimated into each of his performances.^[81] In an interview between Mori and the film critic Sadao Yamane, the two agreed that Raizō had a “refreshing sorrow” about him. Yamane explained this further, saying “while it’s true that he played a great many tragic roles, it wasn’t simply with a dark depression or gloom; he had a very crisp presentation. There wasn’t a single other actor who was equipped with both this sorrow and this cool crispness the way that Raizō was.”^[81]

Tadao Satō said of Raizō's acting, that whether in jidaigeki or in modern dramas, “whether the most miserable role or the most comedic, he acted with elegance and lent sophistication and grace to the final product.”^[82] Film critic Saburō Kawamoto said of Raizō's acting, “even when he’s here, he’s not here,” and clarified, “even in this filthy world, there was a sense of purity about him, as though he were a glimpse into a faraway place.” “Some people might take my saying ‘sense of purity’ as some sort of posturing phrase, but it's not.”^[83]

Two of Raizō’s contemporaries, Sakata Tōjūrō IV and Nakamura Jakuemon IV, also attempted to change careers from kabuki to film, but failed to find success and returned to the kabuki stage. When asked his thoughts on this, Akinari Suzuki said that he felt that Raizō had found success in film because he was not steeped in kabuki in his young childhood, and thus avoided being totally stained by it.^[84]

Appearance[edit]

Raizō usually looked plain, not eye-catching, but when his makeup was applied for a film shoot he would completely transform. Many people in the film industry spoke about this particular quirk.

According to Arashi Ichikawa, Raizō’s essence was “hardness divided by simplicity,” and in stark contrast to other stars when playing their popular characters, Raizō's unmade-up simplicity “would transform completely with makeup,” he said of this peculiar quirk.^[85] According to Akira Inoue, when given makeup Raizō's usual appearance would become completely different and beautiful.^[52] “Makeup would change him so suddenly, to the point where you’d say ‘woah! Who’s this?’” he said.^[86] Tokuō Tanaka said, “this guy, with his disarming warmth and aura of purity; as soon as work began he’d transform into an actor, he’d stiffen his shoulders and become immediately commanding, steadfast, dignified and strikingly good-looking. For someone like me who knew his usual face, it was so surprising that it made my eyes pop open.”^[86]

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.^[87]

Yoshio Shirasaki, screenwriter of Kōshoku Ichidai Otoko (First-generation Lecher), said of Raizō's transformation that he normally looked like a company man, but “when he appeared on the screen he’d have undergone a complete change; and in the midst of all the light was this youthful star, fighting against emptiness and loneliness.”^[88] Inoue said that the reason that so many of Raizō's movie posters feature an image of him from behind with his head turned to face the camera was because many directors felt that this view of him best showed off his "intriguing emptiness".^[89]

Parallels and Comparison to Shintarō Katsu[edit]

Raizō, as written above, was the son of Ichikawa Kudanji III, a supporting actor by trade, and for a time was known as Ichikawa Enzō II. Shintarō Katsu was the son of Kineya Katsutōji, a nagauta performer and shamisen player, and for a time was known as Kineya Katsumaru II. Both Raizō and Katsu signed on with Daiei in 1954, and joined the company in the same term. Both born in 1931, having made a hurried transition from kabuki to the new world of film, there were many similar circumstances about the pair of young actors.

As previously mentioned, Daiei's management intended from the start to position Raizō as a successor to the star Kazuo Hasegawa,^[90] and it “proceeded smoothly along the tracks.”^[91] 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;^[92] 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.^[93]

It wasn't until the 1960s and the release and success of the Akumyō and Zatoichi series that Katsu became widely discussed and surpassed Raizō in earnings.^[94] Akinari Suzuki said of Katsu, “It wasn’t until after shooting 70 or 80 films without a single real hit, that he finally became of use with the release of Akumyō.”^[95] According to Tokuzō Tanaka, audience reception to Shiranui Kengyō, released in 1960, was particularly terrible, despite Katsu's highly acclaimed performance, to the point that Tanaka received complaints from movie theater owners about his constant use of Katsu in his films.^[96] Reflecting on the state of things in 1959, Katsu said “The banzuke was totally different,” referring to the document listing sumo wrestlers’ ranks before a tournament. “We already knew that Raizō was an ōzeki or a yokozuna. I still hadn’t entered the san’yaku,” meaning that Raizō could be considered to be among the very highest regarded stars, while Katsu was still a relative unknown.^[97]

Eventually the pair became treated as a unit, with the name “KATSURAISU,” taking Katsu's surname and the first half of Raizō's given name to create a name which happened to sound like the food dish “katsu rice.”^[98] When the two appeared on movie posters and in films together under this slogan, they were often made to appear in contrast to one another in their appearance and style, and it was widely believed that there was a strong rivalry between them. However, their usage of friendly nicknames like “Rai-chan” and “Katchan” for each other indicates that their relationship certainly wasn't bad, and in fact might even have been quite friendly.^[94] In fact, Raizō had a close friendship with Katsu's wife, Tamao Nakamura, from childhood, as her father, Nakamura Kanjirō II, was a Kansai-based kabuki actor like Raizō's adopted fathers.^[99]

The author Tomomi Muramatsu indicated that for Raizo, who had “worriedly spent his days in the world of kabuki, which is so dominated by lineage and ceremony, without ever receiving a large role,”^[100] and Katsu, whose father had been involved in the backstage world of kabuki,^[101] shared “the same complex, this large problem to be solved,” and that they were both equipped with “a similar factor which served as a sort of energy source” for them.^[101]

Acting Style and Ability

Raizō was known for constantly offering all manner of suggestions during the pre-production process, and thus acquired the nickname “Goterai,” seemingly a pun on goteru, a Japanese word meaning “to fuss about, to harp on.” However, once he was satisfied in his understanding, he never complained or grumbled, and once filming began he would stop making these sorts of suggestions altogether.^{[102][103][104][105]} On the other hand, Katsu would go through the entire pre-production phase without saying a word, but start making suggestions and impromptu changes as soon as filming began which was a frequent source of trouble for the staff of his films.^[106][107]

According to Akira Inoue, Raizō was quite capable of working together with the methodologies of various directors when acting. For example, even within the same Nemuri Kyōjiro series, the films made under different directors are said to have a different flavor to them. On the other hand he said when speaking of Katsu, “When it comes to Zatoichi, it’s Katchan’s Zatoichi, in all of them.”^[108] Akinari Suzuki has made similar statements regarding the two actors.^[109] Tomomi Muramatsu, said that Katsu was the kind of actor where “no matter what he does, it always ends up in the vein of Shintarō Katsu,” but that Raizō, even though he was established as a mainstream Japanese film star in the ranks of Kazuo Hasegawa and Chiezō Kataoka, would always be very flexible and receptive to direction, which was highly unusual for the stars of that era.^[110]

Tokuzō Tanaka, who directed films with both actors, compared their fighting scenes speaking largely favorably of Raizō, “his lower body always feels somewhat undetermined, but despite that his movement is quite real enough;” but he had to declare Katsu the superior of the two, saying “Katchan is just unbelievably agile.”^[111]

Personality

According to Kazuo Ikehiro, even when working with someone he didn’t like, Katsu could “usually manage to get along,” but “when [Raizō] disliked someone, he disliked them completely” to the point where there had been cases when he had said “I don’t even want to see your face” directly to someone. Ikehiro said that Raizō was particularly bothered by people who took their jobs lightly and did sloppy work.^[112]

Speaking of their interactions with other film staff Yoshinobu Nishioka, who worked as a production designer on many of Daiei’s films, said that Katsu was the sort to go out drinking with other actors, while Raizō would often socialize with the production staff.^[113] Tokuzō Tanaka corroborates, saying that Raizō was incredibly friendly and helpful with the staff, often inviting people to his home for dinner and other such activities.^[114] According to Seiji Hoshikawa, Raizō didn’t much like “glitzy and neon-decked or famous restaurants,” but instead “would nearly always eat regular restaurants, without any regards to social standing,” where he would “happily argue and discuss life and films.”^[115]

Fujio Morita, who served as cinematographer on Raizō’s Nemuri Kyoshirō: Enjō-ken and Katsu’s Zatoichi: Nitan-kiri at about the same time, said of their personalities that Raizō was very diligent and serious, while describing Katsu as desperate.^[116]

Filmography[edit]

The filmography of Ichikawa Raizō includes 158 films:^[117]

1950s[edit]

(1950s is complete)

• 1954: The Great White Tiger Platoon (花の白虎隊, Hana no Byakkotai)
• 1954: Zenigata Heiji: Ghost Lord (銭形平次捕物控　幽霊大名, Zenigata Heiji Torimono-Hikae: Yūrei Daimyō)
• 1954: The Princess Sen (千姫, Sen Hime)
• 1954: Onatsu and Seijuro (歌ごよみ　お夏清十郎, Utagoyomi Onatsu Seijūrō)
• 1954: The Young Swordsman (潮来出島　美男剣法, Shiode Kushima Binan Kenpō)
• 1955: The Second Son (次男坊鴉, Jinanbō Garasu)
• 1955: The Magistrate (次男坊判官, Jinanbō Hangan)
• 1955: The Young Lord (鬼斬り若様, Onikiri Wakasama)
• 1955: A Girl Isn't Allowed to Love (薔薇はいくたびか, Bara Ikutabika) a.k.a. The Rose Again
• 1955: The Dancer and Two Warriors (踊り子行状記, Odoriko Gyōjōki)
• 1955: The Magical Warrior (綱渡り見世物侍, Tsuna Watari Misemono Zamurai)
• 1955: Taira Clan Saga a.k.a. The Taira Clan, lit. "New Tale of the Heike" (新・平家物語, Shin Heike Monogatari)
• 1955: The Iroha Elegy (いろは囃子, Iroha Bayashi)
• 1955: Thief and Magistrate (怪盗と判官, Kaitō to Hangan)
• 1956: Migratory Birds of the Flowers (花の渡り鳥, Hana no Wataridori)
• 1956: Matashirō Fighting Journey (又四郎喧嘩旅, Matashirō Kenka-tabi)
• 1956: Renyasai Yagyū Hidden Story (柳生連也斎　秘伝月影抄, Yagyū renyasai: hidentsuki kageshō)
• 1956: Asatarō (浅太郎鴉, Asatarō garasu)
• 1956: Fighting Birds (喧嘩鴛鴦, Kenka Oshidori)
• 1956: Flowery Brothers (花の兄弟, Hana no Kyōdai)
• 1956: Flowery Hood 1 (花頭巾, Hana Zukin)
• 1956: Zenigata Heiji: Human-skin Spider (銭形平次捕物控　人肌蜘蛛, Zenigata Heiji Torimono no Hikae: Hitohada Gumo)
• 1956: Travel Chronicles of Yaji and Kita (弥次喜多道中記, Yaji-Kita Dōchū-ki)
• 1956: Hanpeita Tsukigata (月形半平太　花の巻　嵐の巻, Tsukigata Hanpeita: Hana no maki; Arashi no maki)
• 1956: Flowery Hood 2 (続花頭巾, Zoku Hana Zukin, a.k.a. Hana Zukin II)
• 1956: Fighting Fire Fighter (あばれ鳶, Abare Tobi)
• 1956: Gonpachi (編笠権八, Amigasa Gonpachi)
• 1957: An Osaka Story (大阪物語, Ōsaka monogatari)
• 1957: Love of a Princess (朱雀門, Suzakumon)
• 1957: Floating Vessel (Ukifune) a.k.a. "Tale of Genji Ukifune" (源氏物語　浮舟, Genji Monogatari Ukifune)
• 1957: Fighting Letter for 29 People (二十九人の喧嘩状, Nijūkyū-nin no Kenka-jō)
• 1957: Yatarō’s Travel Hat (弥太郎笠, Yatarō gasa)
• 1957: Tengu Mangorō (万五郎天狗, Mangorō Tengu)
• 1957: Inazuma Kaidō (稲妻街道, Inazuma Kaidō)
• 1957: A Fantastic Tale of Naruto (鳴門秘帖, Naruto Hichō)
• 1957: Demonfire Palanquin (鬼火駕籠, Onibi Kago)
• 1957: Freelance Samurai (桃太郎侍, Momotarō zamurai)
• 1958: Princess Tsuki (月姫系図, Tsukihime keizu)
• 1958: Magnificent Five (遊侠五人男, Yūkyō Gonin Otoko)
• 1958: Hanatarō (花太郎呪文, Hanatarō Jumon)
• 1958: The Loyal 47 Ronin (忠臣蔵, Chūshingura)
• 1958: Tabi wa Kimagure Kaze Makase (旅は気まぐれ風まかせ)
• 1958: Inochi wo Kakeru Otoko (命を賭ける男)
• 1958: The 7th Secret Courier for Edo (七番目の密使, Nanabanme no Misshi)
• 1958: Megitsune Buro (女狐風呂)
• 1958: The Swishing Sword a.k.a. Human Skin Peacock (人肌孔雀, Hitohada Kujaku)
• 1958: Conflagration or Flame of Torment or The Temple of the Golden Pavilion (炎上, Enjō)
• 1958: A Man of Many Miracles (日蓮と蒙古大襲来, Nichiren to mōko daishūrai, lit. "Nichiren and the Great Mongol Invasion")
• 1958: Nuregami kenpō (濡れ髪剣法)
• 1958: Ambush at Iga Pass (伊賀の水月, Iga no suigetsu)
• 1958: Benten Kozō (弁天小僧, Benten Kozō)
• 1958: Bakeneko goyō da (化け猫御用だ)
• 1959: Smooth Tree Peony (人肌牡丹, Hitohada botan)
• 1959: Yūtarō kōdan (遊太郎巷談)
• 1959: Her Highness Princess Snake (蛇姫様, Hebi-himesama)
• 1959: Lord Nobunaga's Early Days (若き日の信長, Wakaki hi no Nobunaga)
• 1959: Ojō kichisa (お嬢吉三)
• 1959: The Gaijin (山田長政　王者の剣, Yamada Nagamasa Ōja no ken)
• 1959: The One-thousand Crane Secret File (千羽鶴秘帖, Dewa tsuru hichō)
• 1959: Jirō Nagafuji (次郎長富士)
• 1959: Attack of Jean Arima (ジャン有馬の襲撃, Jan Arima no shūgeki)
• 1959: Wet-Hair Sando Hat (濡れ髪三度笠, Nuregami sandogasa)
• 1959: Stop the Old Fox (かげろう絵図, Kagerō ezu)
• 1959: Samurai Vendetta (薄桜記, Hakuōki)
• 1959: Ukare sandogasa (浮かれ三度笠)
• 1959: Enchanted Princess 初春狸御殿 (Hatsuharu tanuki goten)

1960s[edit]

(1960s incomplete)

• 1960: Bonchi
• 1960: Demon on Mount Oe
• 1960: Jirocho the Chivalrous
• 1960: Satan's Sword (Daibosatsu Tōge)
• 1960: Satan's Sword II (Daibosatsu Tōge no Make)
• 1961: Satan's Sword III (Daibosatsu Tōge Kanketsu-Hen)
• 1961: The Gambler's Code (Kutsukake Tokijiro)
• 1961: A Lustful Man
• 1962: Ninja 1 (Shinobi no mono)
• 1962: The Great Wall (Shin shikōtei)
• 1962: Fencing Master (Tateshi Danpei)
• 1962: 170 Leagues to Edo (Edo e hyakku-nana-jū ri)
• 1962: Destiny's Son (Kiru)
• 1962: Nakayama shichiri
• 1962: The Outcast (Hakai)
• 1962: Onnakeizu
• 1963–1969: Sleepy Eyes of Death film series include 12 films starring Raizo Ichikawa
  • 1964: Nemuri Kyoshiro 2: Shobu
  • 1964: Nemuri Kyoshiro 3: Engetsu Sapporo
  • 1969: Nemuri Kyōshirō akujogari
• 1963: Yoso
• 1963: Ninja 3 (Shin Shinobi no Mono)
• 1963: Ninja 2 (Zoku shinobi no mono)
• 1963: Tenya wanya jirōchō dōchō
• 1963: Teuchi
• 1963: Daisanno kagemusha
• 1963: An Actor's Revenge (Yukinojo henge)
• 1964: Ninja 4 (Shinobi no Mono: Kirigakure Saizo)
• 1964: Ninja 5 (Shinobi no Mono: Zoku Kirigakure Saizo)
• 1964: The Sword (Ken)
• 1965: Ken Ki (Sword Devil)
• 1966: Dai Satsujin Orochi - The Betrayal
• 1967: The Doctor's Wife

References[edit]

Footnotes[edit]

Citations[edit]

Works Cited[edit]

• 『雷蔵、雷蔵を語る』 (Raizō, Raizō ga Kataru) Ichikawa Raizō, Asuka Shinsha, 1995; Asahi Bunko 2003. Preface Yukio Mishima, foreword by Ōta Kōki (son), afterword by Hiroaki Fujii.
• 『雷蔵の色』 (Raizō no Iro) Tomomi Muramatsu, Kawade Shobo Shinsha Publishers inc, 2009.
• 『雷蔵好み』 (Raizō Konomi) Tomomi Muramatsu, Shueisha Inc, 2002; Shueisha Bunko, 2006.
• 『市川雷蔵』 (Ichikawa Raizō) Yoshiko Ishikawa (ed), San-ichi Publishing Co., Ltd, 1995.
• 『わたしの雷蔵』 (Watashi no Raizō) Yoshiko Ishikawa (ed), Kokushokankokai Inc, 2008.
• 『市川雷蔵出演映画作品ポスター集』 (Ichikawa Raizō Shutsuen Eaiga Sakuhin Posutaa-shū) Munenaga Awata (ed), Wides Publishing, 1999.
• 『写真集 市川雷蔵』 (Shashin-shū Ichikawa Raizō) Wides Publishing, 1999. Annotations: Tadanori Yokoo 「市川雷蔵の霊気」 (Ichikawa Raizō no Reiki), Mieko Kanai 「市川雷蔵の年」 (Ichikawa Raizō no Toshi).
• 『侍...市川雷蔵その人と芸』　ノーベル書房 (Samurai... Ichikawa Raizō Sono Hito to Gei – Nōberu Shobo), Nōberu Shobo, 1991.
• 『市川雷蔵とその時代』 (Ichikawa Raizō to Sono Jidai) Masaru Muro'oka (interviewer, layout), Tokuma Shoten Publishing Co., Ltd., 1993.
• 『完本市川雷蔵』 (Kanpon Ichikawa Raizō) Sadao Yamane (ed), AsahiGraph, 1994; Wides Publishin 1999.
• 『孤愁 市川雷蔵写真集』 (Koshū Ichikawa Raizō Shashin-shū) MAGAZINE HOUSE,Ltd., 1991.
• 『甦る!市川雷蔵 限定秘蔵版』 (Yomigaeru! Ichikawa Raizō Gentei Hizō-ban) Kindaieigasha Co.,Ltd, 1992.
• 『市川雷蔵の映画と時代』 (Ichikawa Raizō no Eiga to Jidai) Sunday Mainichi, The Mainichi Newspapers Co., Ltd., 1990.
• 『市川雷蔵 RAIZO 秘蔵傑作スチール・スナップ』 (Ichikawa Raizō RAIZO Hizō Kessaku Suchiiru Sunappu) Victor Books, JVCKENWOOD Victor Entertainment Corp., 1992 ビクターブックス, 1992
• 『市川雷蔵 銀幕の貴公子よ永遠に』 (Ichikawa Raizō Ginmaku no Kikōshi yo Eien ni) RoRaiKai (Raizō Fan Club), Hagashoten, 1983.
• 『RAIZO「眠狂四郎」の世界』 (RAIZO "Nemuri Kyoshirō" no Sekai) <Rekishi Dokuhon spechial printing, 1994>, Shinjin Butsuō Raisha. Commemorative publishing 25 years after Ichikawa Raizō's death.

External links[edit]

Wikimedia Commons has media related to Ichikawa Raizō VIII.

• Raizo Ichikawa at IMDb
• JMDb profile (in Japanese)