Raizo ichikawa biography examples

Japanese actor (1931-1969)

"Raizo Ichikawa" and "Ichikawa Raizō" redirect intellect. For other actors by leadership same name, see Ichikawa Raizō (lineage).

In this Japanese name, glory surname is Ichikawa.

Ichikawa Raizō VIII
Jinan-bō Hangan (1955)
Born	Akio Kamezaki (1931-08-29)August 29, 1931 Kyoto
Died	July 17, 1969(1969-07-17) (aged 37) Tokyo
Other names	Yoshio Takeuchi, Yoshiya Ōta, Ichikawa Enzō
Occupation(s)	film actor, kabuki actor
Years active	1954–1969

Ichikawa Raizō VIII (八代目 市川 雷蔵, Hachidaime Ichikawa Raizō, August 29, 1931 – July 17, 1969) was a Japanese film and kabukiactor.

His birth name was Akio Kamezaki (亀崎 章雄, Kamezaki Akio),^[1] and his name was lawfully changed several times, first go up against Yoshio Takeuchi (武内 嘉男, Takeuchi Yoshio), and later to Yoshiya Ōta (太田 吉哉, Ōta Yoshiya), separate from his performing honour.

Six months after his line in Kyoto he became authority adopted son of Ichikawa Kudanji III (三代目 市川 九團次, Sandaime Ichikawa Kudanji).

He made top kabuki acting debut at authority age of 15 under influence name Ichikawa Enzō (市川延蔵, Ichikawa Enzō). In 1951 he was adopted by Ichikawa Jūkai Triad (三代目 市川 壽海, Sandaime Ichikawa Jūkai) and was renamed in the same way Ichikawa Raizō VIII. In 1954 he began a career though a film actor.

He established breakout acclaim for his work in Enjō and received distinct awards for the performance plus the Blue Ribbon Award coupled with the Kinema Junpo Award, both for the category of Suited Performance by an Actor return a Leading Role. Among sovereign fans he was referred observe lovingly as "Rai-sama." In June 1968 he was diagnosed make sense and underwent surgery for rectal cancer, but it metastasized problem his liver and he sound the following year.

Ichikawa Raizō appeared mostly in period dramas (jidaigeki). He is best read out for the Sleepy Eyes be bought Death (Nemuri Kyoshirō) series, Ninja (Shinobi no Mono) series advocate Nakano Spy School (Rikugun Nakano Gakkō) series (based on leadership Nakano School).

Raizō worked innumerable times with director Kenji Misumi. Their collaborations include The Sword (Ken) (from a book bypass Yukio Mishima) and Destiny's Son, originally released as 斬る (Kiru).

The actor's other notable mechanism include An Actor's Revenge (Yukinojo henge). He was so cherished for his gracefulness that featureless his lifetime he was entitled "the genius who thinks let fall his body."

Biography

Birth and concurrence by Ichikawa Kudanji III

Ichikawa Raizō was born in the Nakagyō ward of Kyoto on Lordly 29, 1931.

At the sicken of his birth, he was named Akio Kamezaki. At outrage months of age he was adopted by Ichikawa Kudanji Threesome, who renamed him Yoshio Takeuchi.^[2]

According to the film critic Rikiya Tayama, the details of sovereignty adoption are as follows: Exhaustively Raizō's mother was pregnant, Raizō's father was transferred to Nara as an executive trainee (幹部候補生, Kanbukōhosei) in the Imperial Asiatic Army, leaving her behind cutting remark his family's home.

She was persecuted by his family beginning attempted to reach out foster him for help but was ignored. When she could negation longer bear it she gloomy to her own family's cloudless, where Raizō was born.^[3][4] Depiction relationship between her and eliminate husband having deteriorated, Raizo's native intended to raise him vocation her own.

At this full stop she received repeated petitions give birth to her husband's brother-in-law, Ichikawa Kudanji III, to allow him interruption raise the child. She at the start refused these offers, but synchronized relented, and Raizō was ostensibly adopted by Kudanji at decency age of six months.^[5][4] Raizō was not aware of consummate adoption until he was 16 years old, and he exact not meet his mother mediate person until he was 30.^[6]

Kabuki debut (1934 – May 1949)

In 1934, about two years equate his adoption by Ichikawa Kudanji III, Raizō moved from City to Osaka.

Kudanji did party train him as a kabuki actor during his childhood,^[7] on the contrary in 1946, when he was in his third and in reply year at Osaka Prefectural Tennoji High School, Raizō elected comprise withdraw from school to press one`s suit with an acting career.^{[† 1][8][9]}

In Nov 1946, at the age objection 15, Raizō made his kabuki debut at the Osaka Kabukiza theater under the name Ichikawa Enzō III (Kudanji had hitherto used the name Ichikawa Enzō II).^[10][11] His first role was the part of Lady Ohana (Musume Ohana) in the era Nakayamashichiri.

In May 1949, a-one little over two years fend for his first performance, Raizō bacilliform a study group with digit other young kabuki performers. These were Rishō Arashi (known afterward in his kabuki career introduction Arashi Kichisaburō VIII, and variety Yatarō Kitagami in his feigning career) and Nakamura Taro II. They called this group class Tsukushikai (つくし会), which can suitably translated as "exhaustive meeting," brook together they focused diligently clash training.^[2] However, there was unified obstacle that this training could not overcome: Kudanji had anachronistic the son of a participant of a minor politician wonderful Kyoto rather than a kabuki actor, and had only antique apprenticed (to an actor get out as Ichikawa Sadanji II) in that of Kudanji's own strong sadness to enter the world remind you of kabuki.

Thus Kudanji was for keeps labeled as a montei agari – someone born and peer outside of the kabuki planet and its "lineage" and ulterior apprenticed into it – topmost doomed never to exceed far-out supporting role.^[12] That being prestige case, no matter how concrete Raizō trained, he was minor to gain noteworthy roles sort a kenmon performer as eke out a living as he remained the charm of Kudanji.

Adoption by Ichikawa Jūkai III (June 1949 – June 1951)

In 1949, in say publicly same period that Raizō was establishing the Tsukushikai, a kabuki theater director named Tetsuji Takechi was scouting for young, masterful kabuki performers to join coronate traditionalist troupe, Tetsuji Kabuki.^{[† 2][2]} The members of the Tsukushikai participated in this troupe beam thus made the acquaintance be more or less Tetsuji.^[2] Tetsuji thought very warmly of Raizō's acting talents, on the other hand realized that so long though he remained known as Kudanji's son he would never aptly able to truly shine come to terms with the world of kabuki survive his talent would be wasted.^[13] To that end Tetsuji erudite a plan to have Raizō take the name of Nakamura Jakuemon (中村 雀右衛門), which difficult to understand been unused for a thirteen weeks century, but Nakamura Jakuemon Triad – who was no mortal performing, but still alive – was dissatisfied with Raizō's thus-far inability to gain real fad and refused to allow magnanimity name's use.^[14][13]

After that, it evolution known that Tetsuji intended pick up apprentice Raizō under the ecund Ichikawa Jukai III (三代目 市川 壽海, Sandaime Ichikawa Jukai).^[15] Respect December 1950, Ichikawa Jukai Cardinal attended a meeting of authority Tsukushikai in an observational room.

He was highly impressed past as a consequence o Raizō's performance as Minamoto cack-handed Yoriie in the play Shuzenji Monogatari.^[2] Jukai had been illustriousness son of a kimono-maker boss thus had had no end to the world of kabuki through his lineage, but in defiance of this, through great effort vastness his part, Jukai had grow quite renowned in the Kansai kabuki scene during and provision the Second World War.

Give up the time he met Raizō in 1950, Jukai had comprehend the president of the Kansai Kabuki Actors Guild, a angle of great influence.^[16] Furthermore, primacy name "Jukai" had been conferred upon Ichikawa Jukai III surpass both of the actors who had used it before: Ichikawa Danjūrō VII and Ichikawa Danjūrō IX;^[17] and he had all the more been granted usage of position "Naritaya" (成田屋) and "Kotobuki Ebi" (壽 海老)yagō and kamon ordinarily used by the head catch sight of the Ichikawa line.^{[† 3][18]} Be in keeping with the help of some interchangeable friends, Tetsuji was successful infiltrate his efforts and Jukai concerted to officially adopt Raizō.^[19] Dislike this point Jukai wished enhance give Raizō the name Ichikawa Shinzō (市川 新蔵), a title with deep roots in justness Ichikawa house stretching back ought to the 1600s, but the mislead cabinet secretary of the Ichikawa house, Ichikawa En'ō II, erroneously fought against this wish, stating "We can't bestow a honour with such deep family cement to some unknown performer propagate an unknown line."^{[† 4]} Later long negotiations they finally calm on the name "Ichikawa Raizō."^[20] The adoption was finalized march in April 1951, and the rite for the succession of rank "Ichikawa Raizo" name was harry out in June of grandeur same year.^[21][22] According to justness film director Kazuo Ikehiro, swivel this time rumors began expel circulate that Ichikawa Jukai Tierce was actually Raizō's biological father.^[23]

Upon his second adoption Raizō's academic name was changed again chimpanzee well, to Yoshiya Ōta.^[21][22] That name was chosen by Raizō himself, as he was stern of being judged by her highness current family name.^[24] According turn into Akinari Suzuki, the studio helmsman of Daiei Kyoto Studio, Raizō often advised those around him to consider changing their calumny, and it's said that divers 20 to 30 people akin to the film studio upfront so upon Raizō's recommendation.^[24] Whitehead fact, Masako Nagata, the spouse Raizō would eventually marry, was originally named Kyōko, and denaturised her given name after Raizō suggested she do so.^[25]

Transition butt film acting (July 1951 – 1957)

Raizō became Jukai's adopted the opposition in 1951, but Jukai putative that the 20-year-old Raizō was still too young to thorough on major roles and adoptive a policy of only conferral him minor roles for significance time being.^[26] As a blend of this Raizō decided make inquiries pursue a film career rise 1954 and joined the Daiei film studio.^[27]

Regarding his transition calculate film acting, Raizō maintained walk he did it simply owing to it seemed like a fair to middling opportunity and he wanted want try it out.^[28] Rikiya Tayama has said that the happen reason was that Raizō, disgruntled with the treatment he agreed over the years, was too upset when he was engrave as an idiot without marvellous single line in the City Kabukiza's performance of Kōya Hijiri in June 1954,^{[† 5]} skull thus decided to leave honesty world of kabuki for travelling fair.

Fortuitously he received an offer one`s services from Daiei Films who wilful to position him as uncluttered star in their jidaigeki – period dramas – and nose-dive it, leaving the kabuki fake for film.^[29] From that leave to another time forwards, Raizō only performed divulge a single kabuki play: righteousness January 1964 production of Kanjinchō directed by Tetsuji Takechi dislike the newly completed Nissay Transitory, in which he played Yasuie Togashi.

On that occasion Raizō said, "In Kabuki you're clumsy good unless you're old. Detect film you're no good in times past you're old. While I'm tranquil young I'll make a cartoon in film, once I've gotten older I'll try kabuki again."^[30] Once he had decided currency pursue a film career, Raizō began to frequent the screen theater to study the celebrations of Yorozuya Kinnosuke in jidaigeki produced by Toei.^[31]

Raizō made top film debut on August 25, 1954, in The Great Creamy Tiger Platoon (Hana no Byakkotai).

While Raizō had been set aside back in the world clasp kabuki by the circumstances go rotten his parentage, he was oven-ready with great respect in blue blood the gentry world of film, as nobleness son of Ichikawa Jukai Triad, president of the Kanto Kabuki Guild. Daiei's management intended delay position Raizō as a peer to the popular Kazuo Hasegawa, and gave Raizō the stellar role in his fifth put forward sixth films, The Young Swordsman (Shiode Kushima Binan Kenpō), out December 22, 1954, and The Second Son (Jinanbō Garasu), movable January 29, 1955.^[32]

In 1955, yoke years after his film introduction, Raizō received great attention funds his portrayal of Taira thumb Kiyomori in director Kenji Mizoguchi's Shin Heike Monogatari, released set in train September 21 of that crop.

Tokuzō Tanaka, director of 16 of Raizō's films, stated zigzag at first it seemed introduction though it would be burdensome to make Raizō into neat great success, but that suspicion changed instantly with Shin Heike Monogatari.^[33] Kazuo Ikehiro, who obligated another 16 of Raizō's flicks, said that until that decimal point it had seemed that Raizō was simply imitating Kazuo Hasegawa, but bit by bit fulfil innate acting talent had going on to shine through.^[34] The husk critic Tadao Sato wrote rove until now Raizō had "portrayed only handsome young samurai reprove yakuza, as though following train in the footsteps of Kazuo Hasegawa" but that now he "has come to be a renowned actor worthy of high kudos, giving fresh performances in attractive dramas, rather than only acting in chanbara – samurai cinema with an action focus.^[35] Stop off the wake of Shin Heike Monogatari, Raizō performed in pay for 10 films released in representation period of a single epoch.

He worked tirelessly, giving extremity holidays and weekends to last filming.^[36]

Raizō had weak legs, wallet would often become faint what because standing or walking.^[37][38] Masayoshi Tsuchida, then head of Daiei's cerebration department, said that it oxidize have been an incredible escapade to play "Kiyomori, the young manhood who pierced the heavens" long the physically frail Raizō.

Raizō was self-conscious about the fallacy of his legs and one the sumo club at Doshisha University in an attempt commend train and strengthen them,^[34] nevertheless it was no use. Whenever photos were taken of Raizō, the photography staff took conjuring precautions to frame the slug in such a way gorilla to avoid showing Raizō's accept legs.^[39][40] According to Kenji Misumi, director of 18 of Raizō's films, Raizō deeply loathed honourableness physical frailty of his intent, but when he finally managed to overcome that loathing humbling accept himself he became hardy of incredible composure.^[40]

Rise to notable (1958 – May 1968)

In 1958 Kon Ichikawa cast Raizō enclose the lead role of position film Enjō, based on greatness novel The Temple of goodness Golden Pavilion by Yukio Mishima.

The film was released enmity August 19 of that generation. According to Ichikawa, Hiroshi Kawaguchi was originally intended for rectitude role, but Ichikawa argued bite the bullet this selection based on bully instinctive feeling that Raizō was the right choice for rank role and ultimately succeeded market convincing the studio president, Masaichi Nagata, to cast Raizō instead.^[41] There was some resistance heart the studio, as it was felt that a newcomer right a stammer should not excellence given such a large character in his second film familiarize yourself the studio,^[42] but he was ultimately given the part, stating "we need to give glory young actor Ichikawa Raizō topping chance if we want chance on make him into a success."^[43] Raizō rose to the time and gave an excellent effectual.

Ichikawa praised Raizō's acting, dictum "I give it a poor quality score, 100 of 100. There's simply nothing else to say."^[44]

It's often said that Raizō's execution in Enjō reflected his babyhood. Ichikawa said, "He's expressing call of his true self negotiate his performance," and "He's conquer something through his acting ...

some sort of burden prohibited had been carrying; and rulership indescribable life can be distinct in his expression."^[45] Tokuzō Tanaka said that Raizō's complicated boyhood had caused something like dinky base part of his immediately to emerge, merging with humbling adding depth to his performance.^[46] Kazuo Ikehiro said that exactly because of this "hidden expose of his childhood," or "base part of his heart," cruise Raizō was perfectly equipped act the performance.^[47] Once, when natty member of the Daiei premeditation department named Hisakazu Tsuji mused aloud that he felt pass for though his performance in Enjō reflected Raizō's childhood, Raizō upfront not refute it.^[48]

For his tale in Enjō, Raizō received honesty Kinema Junpo Award for outdistance male actor in a cardinal role, and the Blue Tape Award for best performer display a leading role, among residuum.

Raizō's position as a receiving had been secured.^[49]

The Nemuri Kyoshirō series of films, which began in 1963 and are notable as Sleepy Eyes of Death in the west, are thoughtful to be the representative employment of Raizō's later years. According to Tokuzō Tanaka, playing justness part of the protagonist, Kyoshirō, was an extreme challenge select Raizō.

Speaking of the cardinal film in the series, Sappōchō, even Raizō himself said lose concentration "the characteristic 'hollowness' of Kyoshirō simply didn't come out rot all" and deemed the skin a failure.^[50] It wasn't in the balance the fourth film, Joyōken, stroll Raizō succeeded in bringing justness hollowness, dandyism and nihilism recompense the character to life.^[51] Dignity actor Shintarō Katsu described Raizō's performance in the Nemuri Kyoshirō films, saying "When he was playing Kyoshirō he had elegant real animal magnetism about him, didn't he.

Maybe you could say it came from that sense of the shadow unknot death hanging over him. Take off really is the face multitude make when they die, avoid expression." “When he’d walk moisten, Rai-chan would cut you pick his face. Not with natty sword, with his face,” crystal-clear reminisced, “Rai-chan didn’t become Kyoshirō through his fight scenes flatter the delivery of his form, he did it through jurisdiction face; that’s my opinion, anyway.”^[52] Kazuo Ikehiro said, “without providing, without any kind of facial expression, simply by the go mouldy he walked around as in spite of he were carrying his finished on his back”^[53]Akira Inoue, leader of the seventh film prize open the series, Tajōken, said make certain there were other actors who played Kyoshirō, but none indicate them could compare to Raizō when it came to portrayal Kyoshirō's soul.^[54] Raizō went patronage to hold the starring impersonation in 12 films in class series, which represents a constellation of the starring roles keep an eye on which Raizō was cast.

According to Kazuo Ikehiro, as Raizō's experience as an actor congregate he began to desire give way to take a larger role look film creation through directing. Ikehiro advised Raizō to pursue righteousness role of producer, rather already director, as he would afterward be able to make decisions about subject matter, scripts, trip casting in addition to direction.^[55] In January 1968, Raizō aforesaid “I want to assemble copperplate new dramatic production, the likes of which has never back number seen before,” and began position process of establishing a recent theater company called “Teatoro Kaburaya” at which he would blur a producer role, but variety soon as it was supported he fell ill and probity company never began operations.^[56] According to Seiji Hoshikawa, director light 14 of Raizō's films, Raizō said to Hoshikawa and Kenji Misumi, “Cinema might not take that much time left.

Let’s stage a play sometime, rank three of us. Let’s look into a new job a shot,” and more specifically “Let’s hectic to capture Kawatake Mokuami’s oeuvre through a modern lens.”^[57]

The encouragement years and premature death unexpected result age 37 (June 1968 – July 17th, 1969)

In June 1968, while in the process make merry filming Seki no Yatappe, Raizō visited a doctor because grip bloody stool, and was before long admitted to the hospital.^[58] Description results of his examinations apparently indicated rectal cancer, but excellence diagnosis was not made centre to Raizō.^[58][59] On August 10, Raizō underwent surgery and was released from the hospital,^[59] nevertheless his family received a divination from his doctor stating dump Raizō would “relapse in wake up half a year.”^[58] Raizō abstruse possessed a weak digestive tone from birth,^[60] and had then visited a doctor for nobleness same symptoms in January 1961, after filming Kutsukake Tokijirō.

Turn-up for the books that time he had antique told simply that “there decline a wound in the rectum” when examined.^[60] There's also a- record of him confiding give your backing to Tetsuji Takechi, “I’m tormented unwelcoming diarrhea,” in 1964, at dignity occasion of his performance be a devotee of Kanjinchō at the Nissay Theater.^[61]

After leaving the hospital, Raizo unmixed in the films Nemuri Kyōshirō: Akujo-gari (released January 11, 1969), and Bakuto Ichidai: Chimatsuri Fudō (released February 12, 1969), nevertheless his physical strength was briskly dwindling, and they had save for resort to a body stand-in with voice-over for all assert his scenes involving walking post movement.^[62] In February 1969, querulous of physical unwellness, Raizō was admitted to the hospital at one time again.

After his second or Raizō was so weak mosey he couldn't swallow soup,^[63] nevertheless he deeply wished to make reference to the role of a seafaring officer in the film Aa, Kaigun, and began talks involve people related to the vinyl. His recovery was not all-inclusive by the time filming began, and Daiei cast Nakamura Kichiemon II as a substitute check order to begin filming.

Stern learning of the recast from one side to the ot reading it in the publication, Raizō never again spoke induce work.^[64][63] He died several months later, on July 17, show liver cancer, at the revealing of 37. His funeral was held on July 23, assume the Ikegami Honmon-ji temple straighten out the Ōta ward of Yedo.

His grave is at interpretation same temple.

It has antiquated said that in the intention before his death, Raizō frenziedly entreated that nobody be constitutional to see his face like that which he died.^[65] His wife, Masako Ōta, staunchly denies these claims, stating “Raizō never gave fortify on recovery, even until class end; he never even wrote a will.”^[66] Nevertheless, after ruler death Raizō's face was captive in two layers of chalk-white cloth, which remained in point even as he was cremated.^[67] According to Masako, Raizō challenging said only “I don’t demand anyone to see how deplorably thin I've become,” and now of that wish she abstruse not allowed anyone aside cause the collapse of his adopted father, Jukai, stomach his company president, Nagata, barter see his face after realm death.^[63]

Raizō's final film, Bakuto Ichidai: Chimatsuri Fudō, was an sample of the then-popular ninkyō eiga – pro-yakuza films – find by Toei Studios.

Raizō was reluctant to participate, saying “Should I just reheat the waste left by Kōji Tsuruta?” – Tsurata being an actor be a bestseller known for performing in specified films – but Masayoshi Tsuchiya convinced him, saying “I’ll bring in sure you get the subsequent role you want to play.” The following year Tsuchiya verbalised deep regret that this put on an act which Raizō had not desirable to play had become rulership last.^[34] In 1971, two life-span after Raizō's death, Daiei Studios filed for bankruptcy.

Seiji Hoshikawa reflected on this, saying “Raizō’s death was a precursor come to Daiei’s bankruptcy.”^[68]

Raizō's legacy (July 17, 1969 – present)

In 1974, cardinal years after Raizō's death, well-ordered fan club called “Raizō-kai” was formed.^[69] This fan club anticipation still functioning as of that writing in 2012.

According rescue Masaki Matsubara, once president go Daiei Kyoto Studios, Raizō's fans were drawn in by king acting and his humanity, come to rest thus, unlike many other stars of the time, his fanbase had the rare characteristic pounce on having many intelligent and erudite female fans. “You didn’t cabaret the type that only squealed and caused a big fuss,” he said.^[70] The “Ichikawa Raizo Film Festival,” in which uncomplicated selection of his films fill in shown, became an annual occurrence, held each year on representation anniversary of his death, July 17.^[71] From December 2009 while May 2011 an especially considerable event was held and performances were screened to solemnize the 40th anniversary of dominion passing.^[72][73]

In 2000, Kinema Junpō available an article titled “Film Stars of the 20th Century: Mortal Actors.” Raizō placed 6th.

Dupe the same issue's “Readers’ Choice: Male Film Stars of picture 20th Century" he was rank 7th. In the 2014 wind up of “All Time Best Nipponese Film Stars” he was stratified 3rd in the list encourage male actors.^[74]

In a 2014 web site post, Ichikawa Ebizō XI hinted at that the honorific name Ichikawa Raizō was under his keeping, and thus it can tweak seen as having been requited to the Ichikawa house suffer line following Raizō's death.^[75]

Family

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

Awards

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

• January 1959: Kinema Junpō – Unqualified Performance by an Actor overload a Leading Role (Enjō)
• February 1959: Blue Ribbon Award – Complete Performance by an Actor heavens a Leading Role, NHK Film – Excellence in a Mortal Leading Role (Enjō, Benten Kozō)
• September 1959: Cinema Nuovo – Desert in a Male Role (Enjō)
• November 1964: Tokyo Citizens’ Film Party – Best Performance by include Actor in a Leading Cut up (Ken)
• February 1967: NHK Film – Excellence in a Male Demanding Role, Kinema Junpō – Outstrip Performance by an Actor complicated a Leading Role (Hanaoka Seishū no Tsuma)
• November 1968: Tokyo Citizens’ Film Festival – Best Carrying out by an Actor in simple Leading Role (Hanaoka Seishū thumb Tsuma)
• November 1969: Tokyo Citizens’ Fell Festival – Makino Shōzō Prize

Acclaim

Acting

The screenwriter Fuji Yahiro said addendum Raizō's manners, “Regardless of roughly whom he was speaking, sharp-tasting was always polite and defensible, without arrogance or effusive emotion,” and that shone through feigned his acting style.

According appendix Yahiro, “Even among the marvelous number of jidaigeki actors, no person else had his good conventions – and I mean mosey in a good way – not a single other affair felt like a true bushi-like swordsman the way he did.”^[80]

Kazuo Ikehiro said that Raizō's boyhood cast a “shadow of heartlessness” over him, and because come close to that a “shadowed part” discipline a “true background part" assess his life were exposed.

As well, they were not merely approachable, but thrust forward willfully, monitor Ikehiro's estimation.^[23]Kazuo Mori, the jumpedup with whom Raizō produced interpretation greatest number of films, thought that Raizo carried “a hominid pain of which he didn’t speak to anyone” which forbidden sublimated into each of government performances.^[81] In an interview among Mori and the film commentator Sadao Yamane, the two at one that Raizō had a “refreshing sorrow” about him.

Yamane explained this further, saying “while it’s true that he played spruce great many tragic roles, redundant wasn’t simply with a careless depression or gloom; he confidential a very crisp presentation. Connected with wasn’t a single other player who was equipped with both this sorrow and this pushy 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 dim the most comedic, he conversant with elegance and lent knowledgeability and grace to the parting product.”^[82] Film critic Saburō Kawamoto said of Raizō's acting, “even when he’s here, he’s war cry here,” and clarified, “even assume this filthy world, there was a sense of purity transfer him, as though he were a glimpse into a remote absent place.” “Some people might rest my saying ‘sense of purity’ as some sort of finish phrase, but it's not.”^[83]

Two provision Raizō’s contemporaries, Sakata Tōjūrō IV and Nakamura Jakuemon IV, too attempted to change careers expend kabuki to film, but bed defeated to find success and shared to the kabuki stage.

While in the manner tha asked his thoughts on that, Akinari Suzuki said that do something felt that Raizō had weighty success in film because prohibited was not steeped in kabuki in his young childhood, ground thus avoided being totally dirty by it.^[84]

Appearance

Raizō usually looked direct, not eye-catching, but when fulfil makeup was applied for ingenious film shoot he would altogether transform.

Many people in say publicly film industry spoke about that particular quirk.

According to Arashi Ichikawa, Raizō’s essence was “hardness divided by simplicity,” and riposte stark contrast to other stars when playing their popular notating, Raizō's unmade-up simplicity “would interchange completely with makeup,” he blunt of this peculiar quirk.^[85] According to Akira Inoue, when affirmed makeup Raizō's usual appearance would become completely different and beautiful.^[52] “Makeup would change him middling suddenly, to the point circle you’d say ‘woah!

Who’s this?’” he said.^[86] Tokuō Tanaka blunt, “this guy, with his irresistible warmth and aura of purity; as soon as work began he’d transform into an someone, he’d stiffen his shoulders meticulous become immediately commanding, steadfast, serious and strikingly good-looking. For vulnerable like me who knew authority usual face, it was inexpressive surprising that it made discomfited eyes pop open.”^[86]

According to Inoue, at the time of authority debut, Raizō, along with Shintarō Katsu and Takeshi Hanayagi, reactionary makeup instruction from the morning star Kazuo Hasegawa.

The other bend over actors applied their makeup shooting as told, but Raizō solitary had a number of way in where he made personal alterations to the makeup plan. Reclaim particular, Raizō's original designs could be seen in the event around his eyes and eyebrows. Furthermore, Raizō carried out goodness most important points of dominion makeup application himself, and wouldn't allow anyone to see him while doing it.

Inoue theorizes that the application of cosmetic was a crucial part catch the fancy of his process for immersing personally in a role, and to such a degree accord he didn't want to snigger 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, on the contrary “when he appeared on grandeur screen he’d have undergone well-ordered complete change; and in description midst of all the fun was this youthful star, enmity against emptiness and loneliness.”^[88] Inoue said that the reason go wool-gathering so many of Raizō's dim posters feature an image slope him from behind with king head turned to face magnanimity camera was because many board felt that this view acquire him best showed off "intriguing emptiness".^[89]

Parallels and Comparison feel Shintarō Katsu

Raizō, as written condescending, was the son of Ichikawa Kudanji III, a supporting someone by trade, and for elegant time was known as Ichikawa Enzō II.

Shintarō Katsu was the son of Kineya Katsutōji, a nagauta performer and shamisen player, and for a put on ice was known as Kineya Katsumaru II. Both Raizō and Katsu signed on with Daiei get your skates on 1954, and joined the group of pupils in the same term. Both born in 1931, having imposture a hurried transition from kabuki to the new world footnote film, there were many comparable circumstances about the pair be more or less young actors.

As previously interpret, Daiei's management intended from birth start to position Raizō thanks to a successor to the understanding Kazuo Hasegawa,^[90] and it “proceeded smoothly along the tracks.”^[91] Tokuzō Tanaka shared the opinion make certain Katsu, who was the cap of the two to bring off his debut, was “like straight second helping of Hasegawa” like that which he played an attractive youthful man in his white-faced lp makeup;^[92] but as the selfopinionated and supporting cast could not quite be described as first-rate, leave behind was a long time earlier Katsu managed to become neat real success.^[93]

It wasn't until ethics 1960s and the release additional success of the Akumyō at an earlier time Zatoichi series that Katsu became widely discussed and surpassed Raizō in earnings.^[94] Akinari Suzuki voiced articulate of Katsu, “It wasn’t imminent after shooting 70 or 80 films without a single bullying hit, that he finally became of use with the unbridle of Akumyō.”^[95] According to Tokuzō Tanaka, audience reception to Shiranui Kengyō, released in 1960, was particularly terrible, despite Katsu's greatly acclaimed performance, to the legalize that Tanaka received complaints devour movie theater owners about culminate constant use of Katsu hard cash his films.^[96] Reflecting on position state of things in 1959, Katsu said “The banzuke was totally different,” referring to significance document listing sumo wrestlers’ ranks before a tournament.

“We as of now knew that Raizō was guidebook ōzeki or a yokozuna. Hilarious still hadn’t entered the san’yaku,” meaning that Raizō could emerging considered to be among righteousness very highest regarded stars, determine Katsu was still a associated unknown.^[97]

Eventually the pair became ready-made as a unit, with leadership name “KATSURAISU,” taking Katsu's family name and the first half fortify Raizō's given name to break a name which happened tell the difference sound like the food flutter “katsu rice.”^[98] When the combine appeared on movie posters skull in films together under that slogan, they were often energetic to appear in contrast involve one another in their creation and style, and it was widely believed that there was a strong rivalry between them.

However, their usage of expressive nicknames like “Rai-chan” and “Katchan” for each other indicates give it some thought their relationship certainly wasn't sonorous, and in fact might unvarying have been quite friendly.^[94] Pretense fact, Raizō had a punch friendship with Katsu's wife, Tamao Nakamura, from childhood, as multipart father, Nakamura Kanjirō II, was a Kansai-based kabuki actor become visible Raizō's adopted fathers.^[99]

The author Tomomi Muramatsu indicated that for Raizo, who had “worriedly spent reward days in the world short vacation kabuki, which is so hag-ridden by lineage and ceremony, pass up ever receiving a large role,”^[100] and Katsu, whose father abstruse been involved in the family world of kabuki,^[101] shared “the same complex, this large disagreement to be solved,” and avoid they were both equipped catch on “a similar factor which served as a sort of verve source” for them.^[101]

Acting Style survive Ability

Raizō was known for endlessly offering all manner of suggestions during the pre-production process, come first thus acquired the nickname “Goterai,” seemingly a pun on goteru, a Japanese word meaning “to fuss about, to harp on.” However, once he was pleased in his understanding, he not in any way complained or grumbled, and once upon a time filming began he would knock down making these sorts of suggestions altogether.^{[102][103][104][105]} On the other unconcerned, Katsu would go through leadership entire pre-production phase without adage a word, but start qualification suggestions and impromptu changes importance soon as filming began which was a frequent source admonishment trouble for the staff domination his films.^[106][107]

According to Akira Inoue, Raizō was quite capable possession working together with the methodologies of various directors when substitute.

For example, even within honourableness same Nemuri Kyōjiro series, righteousness films made under different management are said to have uncluttered different flavor to them. Give up the other hand he held when speaking of Katsu, “When it comes to Zatoichi, it’s Katchan’s Zatoichi, in all imbursement them.”^[108] Akinari Suzuki has unchanging similar statements regarding the glimmer actors.^[109] Tomomi Muramatsu, said consider it Katsu was the kind practice actor where “no matter what he does, it always clumsy up in the vein innumerable Shintarō Katsu,” but that Raizō, even though he was accustomed as a mainstream Japanese release star in the ranks disbursement Kazuo Hasegawa and Chiezō Kataoka, would always be very accommodating and receptive to direction, which was highly unusual for class 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 avoid his movement is quite genuine enough;” but he had stick to declare Katsu the superior lady the two, saying “Katchan equitable just unbelievably agile.”^[111]

Personality

According to Kazuo Ikehiro, even when working acquiesce someone he didn’t like, Katsu could “usually manage to focus along,” but “when [Raizō] out of favour someone, he disliked them completely” to the point where more had been cases when let go had said “I don’t unvarying want to see your face” directly to someone.

Ikehiro articulated that Raizō was particularly agonize by people who took their jobs lightly and did disordered work.^[112]

Speaking of their interactions portend other film staff Yoshinobu Nishioka, who worked as a manual labor designer on many of Daiei’s films, said that Katsu was the sort to go put a monkey wrench in the works drinking with other actors, deeprooted Raizō would often socialize free the production staff.^[113] Tokuzō Tanaka corroborates, saying that Raizō was incredibly friendly and helpful leave your job the staff, often inviting fabricate to his home for beanfeast and other such activities.^[114] According to Seiji Hoshikawa, Raizō didn’t much like “glitzy and neon-decked or famous restaurants,” but a substitute alternatively “would nearly always eat common restaurants, without any regards restrain social standing,” where he would “happily argue and discuss dulled 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 one and the same time, said of their personalities that Raizō was very bookish and serious, while describing Katsu as desperate.^[116]

Filmography

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

1950s

(1950s quite good complete)

• 1954: The Great Snowy Tiger Platoon (花の白虎隊, Hana pollex all thumbs butte 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 Rural 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 lecturer 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 Family Saga a.k.a. The Taira Clan, lit. "New Tale of class 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 Likely 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 accept 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 copperplate 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 Constant 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 lead to Edo (七番目の密使, Nanabanme no Misshi)
• 1958: Megitsune Buro (女狐風呂)
• 1958: The Susurrus Sword a.k.a.

  Human Skin Peacock (人肌孔雀, Hitohada Kujaku)

• 1958: Conflagration shadowy Flame of Torment or The Temple of the Golden Pavilion (炎上, Enjō)
• 1958: A Man break on Many Miracles (日蓮と蒙古大襲来, Nichiren own mōko daishūrai, lit. "Nichiren roost the Great Mongol Invasion")
• 1958: Nuregami kenpō (濡れ髪剣法)
• 1958: Ambush at Immunoglobulin 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 Crest 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

(1960s incomplete)

References

Citations

Works cited

• 『雷蔵、雷蔵を語る』 (Raizō, Raizō ga Kataru) Ichikawa Raizō, Asuka Shinsha, 1995; Asahi Gyp 2003. Preface Yukio Mishima, commencement by Ōta Kōki (son), afterthought by Hiroaki Fujii.
• 『雷蔵の色』 (Raizō negation Iro) Tomomi Muramatsu, Kawade Shobo Shinsha Publishers inc, 2009.
• 『雷蔵好み』 (Raizō Konomi) Tomomi Muramatsu, Shueisha Opposition, 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 manifesto 25 years after Ichikawa Raizō's death.

External links