Juzo Itami in Film Industry

Mansaku Itami specialized in trick up dramas, while Juzo Itami concentrated on coetaneous banter.

Juzo Itami was born in Ehime on the southern island of Shikoku, and he spent much of his childishness and youth in that location. From the first, the boy was a rebel against the stifling conventions of Japanese society. He attended Matsuyama Minami High School, and one of his friends at the aim was the future Nobel prizewinning novelist Kenzaburo Oe. Oe left us a striking portrait of young Itami in his book of essays create in 1995

Oe tells how the writer Ryotaro Shiba described Itami admiringly as an ijin, which gist a person "who is different from the norm; a excellent person . . . A person who practices mysterious devices; a wizard, a foreigner" (Kirkup, 1997, 16). When Oe met itami, the latter was already embroiled in a battle with the administration over the compulsory equivalent rule for the school. Oe reported that his friend suffered from a sense of onset on his human rights. Itami was unable to attend a university aft(prenominal) he was expelled from school, meaning he could non sit for the university unveiling exam. He then went to take a leak as an illustrator (Kirkup, 1997, 16).

Itami moved to capital of Japan in 1960 and went to work for the Daiei movie company as an actor, and there he specialized in supporting roles. In that year, he withal married Kazuko Kawakita. He left Daiei in 1961 and went to work writing literary essays, much as his father had done. He con

"Tampopo" (1995: June 15). Magill's Survey of Cinema.

The presence in The Funeral of Ryu, a favorite actor of director Yasujiro Ozu, is a monitor lizard that Ozu not only started by making farces but also invariably included comic or even put-onable scenes in his serious movie houses . . . Other leading directors have deceased further. Keisuke Kinoshita not only mixed politics, poverty, unwed motherhood, and modern art into his comic satire Karumen Jungosu (1952), but also inserted waggery into his downbeat Nihon No Higeki (1953); A Japanese Tragedy).

Ichikawa, though best known in the United States for such thoroughly serious films as Biruma No Tategoto (1956; The Burmese Harp) and Nobi (1959; Fires on the Plain), is also a master at teaming farce with tragedy (Magill's Survey of Cinema, 1995).

Itami turned to directing in 1984 with Ososhiki (Funeral), a satirical comedy about the conventions of Japanese funeral ceremonies. Itami's flake wife Nobuko appeared in this film and in all his posterior films. Ososhiki was a very big hit in Japan. Funeral would ulterior be distributed in the United States after the international victor of itami's second directorial effort, Tampopo. The word means "Dandelion," and the film is a satire about the gourmet boom of the 1980s in Japan. the film draws on traditions of the film Western, though it is set in contemporary Japan:

Kirkup, J. (1997, December 23). "Obituary: Juzo Itami." Independent, 16.

Probably the most heavy thing about Itami is found in the several obituaries that not only decried his suicide but noted that this act deprive the public of the films he would have made and the social remark he would have built into those films. Itami made people laugh and think at the same time, mixing tragedy and comedy in a deft manner, and reaching out beyond the borders of his own country to the rest of the world.

She played tax inspectors, lawyers, miniaturetime entrepreneurs-women you mess with at your peril. T
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