Tsumasaburo Bando
Encyclopedia
was one of the most prominent Japanese actors of the twentieth century. Famous for his rebellious, sword fighting roles in many jidaigeki
silent films, he rose to fame after joining the Tōjiin Studio of Makino Film Productions
in Kyoto
in 1923.
, Tokyo
. Bantsuma’s father, a cotton wholesaler named Chōgorō, lived till the age of 71 but his mother, older brother, and sister died when he was young. He attended Jisshi Elementary School which stands next to the former site of Denma-chō Prison where a lot of the loyal supporters of the Emperor, which he frequently played in his films, were deeply involved with. At school, he was often the leader of the pack and was actively involved in school plays. While performing in a school play, Bantsuma once froze on stage unable to recite his lines. Embarrassed, he ran off the stage and stayed in his room, weeping for 10 days. It is said that during this time, he vowed to become someone who would be admired by all.
After the death of his mother, his father’s business soon went bankrupt and Bantsuma was unable to carry on with his education. After graduating elementary school, he became an apprentice and pupil to Kataoka Nizaemon, a famous Kabuki
actor. However, in the world of Kabuki, lineage was extremely important and Bantsuma struggled to gain fame. He soon changed his artistic direction by joining small theaters and taking on small roles at Kokkatsu production firm. In 1922, together with Kichimatsu Nakamura, he formed “Bando Tsumasaburo Troupe” but it was disbanded very quickly. Then in 1923, both Bantsuma and Kichimatsu were scouted into the film industry by Makino Film Studio.
, he began to build a celebrated career as an actor. It was during this period that he became best friends with Rokuhei Susukita, a script writer who wrote almost a hundred scripts for the Makino studio. He introduced complex plot lines, exhilarating action sequences, and unruly anarchy to jidaigeki
films, very much in the style of American films
. Rokuhei subsequently selected Bantsuma to debut in his film Gyakuryo in 1924, a story about a poor, low-rank samurai
whose life is turned upside down by his enemy. In 1925, Bantsuma starred in Kageboshi, another screenplay written by Rokuhei, this time depicting the life of the ‘jovial thief’, Kageboshi.
. Bantsuma owned most of the rights and would go through the specific scenes and details with the directors. He is said to have been very demanding but his colleagues have explained that this was merely a reflection of his eager and enthusiastic approach to making films. During this time, Bantsuma practically lived in Gion
being entertained by Geisha
. It is also well known that he liked to flaunt his cash and he often treated his co-workers to a night in Gion with sometimes up to 20 Geisha in one room. In 1926 Bantsuma built a studio outside Kyoto
where the Toei Kyoto studio now stands.
By far the most controversial film made under Bantsuma Productions was its second production, Orochi
(1925). The story revolves around the protagonist, Heizaburo Kuritomi, an honorable but low-class samurai
who is given an emotional depth, previously unseen in Jidaigeki
films, as he battles with inner conflict and the injustices of society. This is especially evident in the closing sequence of the film where the protagnoist is dragged away by his enemies after his tremendous effort to protect his love. In the essay, "Bantsuma's 'New Breeze'", Midori Sawato
cites the ending of Orochi
as one of the most 'heroic and heartcrushing' images she has seen. In the past, the heroes of the films were proud samurai
of the upper classes who always triumphed over their evil opponents, upholding what was truly right in the world. However, Orochi
was created in response to the national and military fanaticism that was prevailing at the time.
With its now famous opening lines:
Bantsuma went on to produce many films under his production company, but Orochi was the only one he personally kept the negative for. His agency hit a low point during the period 1931-1935. During this time, his production company was very much a ‘one-man agency’, where the directors were only acting to please Bantsuma. His acting skills gradually became old and outdated so his films did not do very well. In 1935, Bantsuma worked with the renowned director Hiroshi Inagaki
in his first talkie film, Niino Tsuruchiyo (1935), but his rather feeble voice was unpopular with the audience. It seemed that Bantsuma’s luck was running out and in 1936 he closed the doors of his agency once and for all, and joined Nikkatsu
Production Company in 1937.
performances and actors were limited to doing standard moves such as the ‘Yamagata
,’ ‘Yanagi,’ or the ‘Chijihataka.’ However, with the emergence of Bantsuma this changed and he introduced a completely new style which was unique to him alone. Ryu Kuze, a sword fighting coach analyzed Bantsuma’s technique and put his uniqueness down to the fact that he does not look at his victims when he slays them. Instead, he is already focused on his next victim. Ryu Kuze also pointed out that Bantsuma would stand straight with his ankles lined up which was his signature pose that signaled death for his opponent. His colleagues often spoke of their admiration for Bantsuma’s enthusiasm and quick ability to pick up new moves and sequences. Bantsuma’s spectacular sword skills soon earned him the title, ‘The King of Swordfights.’
described his father as ‘sensitive’ and affected by everything occurring around him. It seems that there was more to Bantsuma than a sword wielding actor. He wrote several articles for magazines such as Bantsuma Cinema News and displayed his sensitivity, as well as giving the audience an insight into his mentality.
In the November 1929 issue of Bantsuma Cinema News, he wrote, ‘The life of an artist is to die for art. Only when art is one’s life can one produce real art. As I have a long way to go, I will continue down this path while with such belief.’
His determination and dedication in what he did is evident in the statement he made in the February 1930 issue of the same magazine. He wrote,
, Masakazu Tamura
, Ryō Tamura
, and Toshima Tamura. Three sons followed in their father’s footsteps, launching a career in the movie industry. Toshima, who was also expected to be an actor, became a businessperson. His first son, Takahiro Tamura
who died on 16 May 2006 from a cerebral infarction
, often spoke fondly about his father in various interviews and gave valuable insights into Bantsuma, the family man.
The family often spent their summers at the beach in Amanohashidate
and as Takahiro recalled, Bantsuma would splash around in the water, even more excited than his brothers. He also spoke of the memory of his father’s reaction to the results of his junior high school examination. Too nervous to go to the school and check, the good news was delivered by the teacher. Takahiro distinctly remembered his father bounding down the stairs and bowing in front of the teacher till his forehead touched the floor, almost as if shooting a scene from one of his Jidaigeki films.
Many people think that Bantsuma’s true nature can be seen in Yabure Daiko (1949), where he plays the role of a tyrannical man feared by his family. A lot of people assumed that Bantsuma would be like that as a father, but he was the complete opposite, always putting his family first. In fact, the role he played in Abare Jishi of a father who would do anything for his children is a more accurate representation of Bantsuma, who was an affectionate and well-rounded family man. However, Bantsuma’s dedication to his work was also strong, and he returned to the set of his movie, ready to work, the day after his wedding.
, Bantsuma co-starred with Kataoka Chiezo in the all-star film, Chushingura
(1938). Playing the role of Kuranosuke Oishi, Bantsuma displayed his perfected acting skills with his powerful performance. Then in 1943 he starred in the film Muho matsu no Issho, playing a poor rickshaw man. It was a role that would not normally have been taken on by such a great star but director Hiroshi Inagaki
, whom Bantsuma had previously worked with, was determined to get him on board. After initially turning down the role, Bantsuma finally agreed and went on to play a role with a profound humanistic approach that lent great depth to both the character and the movie. In preparation for the role of the poor rickshaw man, Bantsuma stayed in character even whilst at home. His first son, Takahiro Tamura
described watching his father eat dried fish and drink sake in the style of the character of the film.
During this period of his career, Japan soon lost the war
and the US army
began to restrict Jidaigeki
as a ‘hotbed of feudalism.’ Thus, the stars of Jidaigeki
formed troupes and traveled around the country. During this time, Bantsuma perfected his skills further and in 1948 he peaked once again with his performance in the film Ōshō
. Director Daisuke Itō
spoke of Bantsuma’s wide range and depth, his convincing and humanistic portrayal of the protagonist, and stated that despite his big status in the film industry, Bantsuma was the obvious choice for the part of Sankichi, a man of the lowest social ranks.
On 7 July 1953, Bantsuma died at the age of 51 of cerebral hemorrhage while filming Abare-Jishi. A beautiful grave has been built in his memory in Nisonin
, Kyoto
and Bantsuma lives on through the continued popularity of his films and the impact he made to the history of Japanese cinema
.
Jidaigeki
is a genre of film, television, and theatre in Japan. The name means "period drama" and is usually the Edo period of Japanese history, from 1603 to 1868. Some, however, are set much earlier—Portrait of Hell, for example, is set during the late Heian period—and the early Meiji era is also a popular...
silent films, he rose to fame after joining the Tōjiin Studio of Makino Film Productions
Makino Film Productions
Makino Film Productions was a successful early film producing company active in Japanese cinema in the 1920s and 1930s. It was founded by the pioneering film director Shozo Makino in 1923....
in Kyoto
Kyoto
is a city in the central part of the island of Honshū, Japan. It has a population close to 1.5 million. Formerly the imperial capital of Japan, it is now the capital of Kyoto Prefecture, as well as a major part of the Osaka-Kobe-Kyoto metropolitan area.-History:...
in 1923.
Early life
Bantsuma, birth name Denkichi Tamura, was born in Kodenmachō, NihonbashiNihonbashi
, or Nihombashi, is a business district of Chūō, Tokyo, Japan which grew up around the bridge of the same name which has linked two sides of the Nihonbashi River at this site since the 17th century. The first wooden bridge was completed in 1603, and the current bridge made of stone dates from 1911...
, Tokyo
Tokyo
, ; officially , is one of the 47 prefectures of Japan. Tokyo is the capital of Japan, the center of the Greater Tokyo Area, and the largest metropolitan area of Japan. It is the seat of the Japanese government and the Imperial Palace, and the home of the Japanese Imperial Family...
. Bantsuma’s father, a cotton wholesaler named Chōgorō, lived till the age of 71 but his mother, older brother, and sister died when he was young. He attended Jisshi Elementary School which stands next to the former site of Denma-chō Prison where a lot of the loyal supporters of the Emperor, which he frequently played in his films, were deeply involved with. At school, he was often the leader of the pack and was actively involved in school plays. While performing in a school play, Bantsuma once froze on stage unable to recite his lines. Embarrassed, he ran off the stage and stayed in his room, weeping for 10 days. It is said that during this time, he vowed to become someone who would be admired by all.
After the death of his mother, his father’s business soon went bankrupt and Bantsuma was unable to carry on with his education. After graduating elementary school, he became an apprentice and pupil to Kataoka Nizaemon, a famous Kabuki
Kabuki
is classical Japanese dance-drama. Kabuki theatre is known for the stylization of its drama and for the elaborate make-up worn by some of its performers.The individual kanji characters, from left to right, mean sing , dance , and skill...
actor. However, in the world of Kabuki, lineage was extremely important and Bantsuma struggled to gain fame. He soon changed his artistic direction by joining small theaters and taking on small roles at Kokkatsu production firm. In 1922, together with Kichimatsu Nakamura, he formed “Bando Tsumasaburo Troupe” but it was disbanded very quickly. Then in 1923, both Bantsuma and Kichimatsu were scouted into the film industry by Makino Film Studio.
Early Film Career
Once he joined Makino Film ProductionsMakino Film Productions
Makino Film Productions was a successful early film producing company active in Japanese cinema in the 1920s and 1930s. It was founded by the pioneering film director Shozo Makino in 1923....
, he began to build a celebrated career as an actor. It was during this period that he became best friends with Rokuhei Susukita, a script writer who wrote almost a hundred scripts for the Makino studio. He introduced complex plot lines, exhilarating action sequences, and unruly anarchy to jidaigeki
Jidaigeki
is a genre of film, television, and theatre in Japan. The name means "period drama" and is usually the Edo period of Japanese history, from 1603 to 1868. Some, however, are set much earlier—Portrait of Hell, for example, is set during the late Heian period—and the early Meiji era is also a popular...
films, very much in the style of American films
Cinema of the United States
The cinema of the United States, also known as Hollywood, has had a profound effect on cinema across the world since the early 20th century. Its history is sometimes separated into four main periods: the silent film era, classical Hollywood cinema, New Hollywood, and the contemporary period...
. Rokuhei subsequently selected Bantsuma to debut in his film Gyakuryo in 1924, a story about a poor, low-rank samurai
Samurai
is the term for the military nobility of pre-industrial Japan. According to translator William Scott Wilson: "In Chinese, the character 侍 was originally a verb meaning to wait upon or accompany a person in the upper ranks of society, and this is also true of the original term in Japanese, saburau...
whose life is turned upside down by his enemy. In 1925, Bantsuma starred in Kageboshi, another screenplay written by Rokuhei, this time depicting the life of the ‘jovial thief’, Kageboshi.
Bantsuma: The Producer
At the height of his fame, Bantsuma established his own agency in the summer of 1925. It was the first independent production company to be headed by a film star in the history of Japanese cinemaCinema of Japan
The has a history that spans more than 100 years. Japan has one of the oldest and largest film industries in the world – as of 2009 the fourth largest by number of feature films produced. Movies have been produced in Japan since 1897, when the first foreign cameramen arrived...
. Bantsuma owned most of the rights and would go through the specific scenes and details with the directors. He is said to have been very demanding but his colleagues have explained that this was merely a reflection of his eager and enthusiastic approach to making films. During this time, Bantsuma practically lived in Gion
Gion
is a district of Kyoto, Japan, originally developed in the Middle Ages, in front of Yasaka Shrine. The district was built to accommodate the needs of travelers and visitors to the shrine...
being entertained by Geisha
Geisha
, Geiko or Geigi are traditional, female Japanese entertainers whose skills include performing various Japanese arts such as classical music and dance.-Terms:...
. It is also well known that he liked to flaunt his cash and he often treated his co-workers to a night in Gion with sometimes up to 20 Geisha in one room. In 1926 Bantsuma built a studio outside Kyoto
Kyoto
is a city in the central part of the island of Honshū, Japan. It has a population close to 1.5 million. Formerly the imperial capital of Japan, it is now the capital of Kyoto Prefecture, as well as a major part of the Osaka-Kobe-Kyoto metropolitan area.-History:...
where the Toei Kyoto studio now stands.
By far the most controversial film made under Bantsuma Productions was its second production, Orochi
Orochi (film)
is a 1925 black and white Japanese silent film with benshi accompaniment directed by Buntarō Futagawa. This is the most popular and beloved film of Tsumasaburō Bandō, featuring the star at the height of his fame.-Synopsis:...
(1925). The story revolves around the protagonist, Heizaburo Kuritomi, an honorable but low-class samurai
Samurai
is the term for the military nobility of pre-industrial Japan. According to translator William Scott Wilson: "In Chinese, the character 侍 was originally a verb meaning to wait upon or accompany a person in the upper ranks of society, and this is also true of the original term in Japanese, saburau...
who is given an emotional depth, previously unseen in Jidaigeki
Jidaigeki
is a genre of film, television, and theatre in Japan. The name means "period drama" and is usually the Edo period of Japanese history, from 1603 to 1868. Some, however, are set much earlier—Portrait of Hell, for example, is set during the late Heian period—and the early Meiji era is also a popular...
films, as he battles with inner conflict and the injustices of society. This is especially evident in the closing sequence of the film where the protagnoist is dragged away by his enemies after his tremendous effort to protect his love. In the essay, "Bantsuma's 'New Breeze'", Midori Sawato
Midori Sawato
is a benshi, one of the few silent film narrators still active in Japan.-Life:Originally from Tokyo, Midori Sawato graduated from the Department of Philosophy, Hosei University. She first decided she wanted to become a benshi in 1972, when she saw the silent film The Water Magician...
cites the ending of Orochi
Orochi
or Orochi, translated as the Eight-Forked Serpent in English, is a legendary 8-headed and 8-tailed Japanese dragon that was slain by the Shinto storm-god Susanoo.-Mythology:...
as one of the most 'heroic and heartcrushing' images she has seen. In the past, the heroes of the films were proud samurai
Samurai
is the term for the military nobility of pre-industrial Japan. According to translator William Scott Wilson: "In Chinese, the character 侍 was originally a verb meaning to wait upon or accompany a person in the upper ranks of society, and this is also true of the original term in Japanese, saburau...
of the upper classes who always triumphed over their evil opponents, upholding what was truly right in the world. However, Orochi
Orochi
or Orochi, translated as the Eight-Forked Serpent in English, is a legendary 8-headed and 8-tailed Japanese dragon that was slain by the Shinto storm-god Susanoo.-Mythology:...
was created in response to the national and military fanaticism that was prevailing at the time.
With its now famous opening lines:
‘Not all those who wear the name of villain, are truly evil men. Not all those who are respected as noble men, are worthy of the name. Many are those who wear a false mask of benevolence to hide their treachery and the wickedness of their true selves,’the film evoked provocative ideologies and rebellious ideas during a time where liberal performers and writers were being repressed throughout Japan. Consequently, the film was severely censored with over 20% of its content being completely cut out and several scenes having to be re-shot. When the film was finally released, the hype around its creation resulted in crowds flocking to theaters all around the country. Bantsuma’s exhilarating new sword fighting style he displayed in the film may have attracted audiences but it cannot be denied that there were many who were also deeply touched by the profound message of the film.
Bantsuma went on to produce many films under his production company, but Orochi was the only one he personally kept the negative for. His agency hit a low point during the period 1931-1935. During this time, his production company was very much a ‘one-man agency’, where the directors were only acting to please Bantsuma. His acting skills gradually became old and outdated so his films did not do very well. In 1935, Bantsuma worked with the renowned director Hiroshi Inagaki
Hiroshi Inagaki
was a Japanese filmmaker most known for the Academy Award-winning Samurai I: Musashi Miyamoto, which he directed in 1954.-Career:Born in Tokyo as the son of a shinpa actor, Inagaki appeared on stage in his childhood before joining the Nikkatsu studio as an actor in 1922...
in his first talkie film, Niino Tsuruchiyo (1935), but his rather feeble voice was unpopular with the audience. It seemed that Bantsuma’s luck was running out and in 1936 he closed the doors of his agency once and for all, and joined Nikkatsu
Nikkatsu
is a Japanese entertainment company well known for its film and television productions. It is Japan's oldest major movie studio. The name Nikkatsu is an abbreviation of Nippon Katsudō Shashin, literally "Japan Cinematograph Company".-History:...
Production Company in 1937.
Bantsuma: The Swordsman
Bantsuma’s films, particularly his earlier works, would not be complete without the fast paced sword fighting scenes that always guaranteed to raise the heart rate of his audience. Fighting styles had always been set, especially in KabukiKabuki
is classical Japanese dance-drama. Kabuki theatre is known for the stylization of its drama and for the elaborate make-up worn by some of its performers.The individual kanji characters, from left to right, mean sing , dance , and skill...
performances and actors were limited to doing standard moves such as the ‘Yamagata
Yamagata
-Places in Japan:*Yamagata Prefecture**Yamagata City, the capital city of Yamagata Prefecture**Yamagata Airport , an airport located in Yamagata**Yamagata Shinkansen, one of Shinkansen lines running between Tokyo Station and Shinjo Station...
,’ ‘Yanagi,’ or the ‘Chijihataka.’ However, with the emergence of Bantsuma this changed and he introduced a completely new style which was unique to him alone. Ryu Kuze, a sword fighting coach analyzed Bantsuma’s technique and put his uniqueness down to the fact that he does not look at his victims when he slays them. Instead, he is already focused on his next victim. Ryu Kuze also pointed out that Bantsuma would stand straight with his ankles lined up which was his signature pose that signaled death for his opponent. His colleagues often spoke of their admiration for Bantsuma’s enthusiasm and quick ability to pick up new moves and sequences. Bantsuma’s spectacular sword skills soon earned him the title, ‘The King of Swordfights.’
Bantsuma: The Writer
Bantsuma’s first son, Takahiro TamuraTakahiro Tamura
Takahiro Tamura was a Japanese film actor. He appeared in 100 films between 1954 and 2005. He and his younger brothers Masakazu and Ryō were known as the three Tamura brothers...
described his father as ‘sensitive’ and affected by everything occurring around him. It seems that there was more to Bantsuma than a sword wielding actor. He wrote several articles for magazines such as Bantsuma Cinema News and displayed his sensitivity, as well as giving the audience an insight into his mentality.
In the November 1929 issue of Bantsuma Cinema News, he wrote, ‘The life of an artist is to die for art. Only when art is one’s life can one produce real art. As I have a long way to go, I will continue down this path while with such belief.’
His determination and dedication in what he did is evident in the statement he made in the February 1930 issue of the same magazine. He wrote,
‘When creating such a film, I am not an actor, but actually am in the shoes of the character in the film, feeling what he feels, and I suffer the same agony as that character. I must play numerous characters and their diverse personalities one after another. I am no God. Sometimes I feel myself screaming inside…you cannot claim with confidence that you are speaking the mind of the character with only a half-developed understanding of that character. Being able to fully depict the character comes only after bleeding and suffering in agony in the process.’Bantsuma was truly a man of many talents, his abilities not just limited to acting and sword fighting.
Bantsuma: The Father
Bantsuma and his wife, Shizuko Tamura had four sons together; Takahiro TamuraTakahiro Tamura
Takahiro Tamura was a Japanese film actor. He appeared in 100 films between 1954 and 2005. He and his younger brothers Masakazu and Ryō were known as the three Tamura brothers...
, Masakazu Tamura
Masakazu Tamura
is a Japanese film and theatre actor.-Profile:Masakazu Tamura was born 1 August 1943 in Kyoto, Japan to Japanese actor Tsumasaburō Bandō. His brothers Takahiro and Ryō are also actors...
, Ryō Tamura
Ryo Tamura
is a Japanese actor from Kyoto. His father was silent-film star Tsumasaburo Bando. With his elder brothers, the late Takahiro and Masakazu, he is one of the Three Tamura Brothers. Another elder brother, Toshimaro, is active in show business as a manager....
, and Toshima Tamura. Three sons followed in their father’s footsteps, launching a career in the movie industry. Toshima, who was also expected to be an actor, became a businessperson. His first son, Takahiro Tamura
Takahiro Tamura
Takahiro Tamura was a Japanese film actor. He appeared in 100 films between 1954 and 2005. He and his younger brothers Masakazu and Ryō were known as the three Tamura brothers...
who died on 16 May 2006 from a cerebral infarction
Cerebral infarction
A cerebral infarction is the ischemic kind of stroke due to a disturbance in the blood vessels supplying blood to the brain. It can be atherothrombotic or embolic. Stroke caused by cerebral infarction should be distinguished from two other kinds of stroke: cerebral hemorrhage and subarachnoid...
, often spoke fondly about his father in various interviews and gave valuable insights into Bantsuma, the family man.
The family often spent their summers at the beach in Amanohashidate
Amanohashidate
Amanohashidate is one of Japan's three scenic views. The sandbar is located in Miyazu Bay in northern Kyoto Prefecture.A thin strip of land connects two opposing sides of Miyazu Bay...
and as Takahiro recalled, Bantsuma would splash around in the water, even more excited than his brothers. He also spoke of the memory of his father’s reaction to the results of his junior high school examination. Too nervous to go to the school and check, the good news was delivered by the teacher. Takahiro distinctly remembered his father bounding down the stairs and bowing in front of the teacher till his forehead touched the floor, almost as if shooting a scene from one of his Jidaigeki films.
Many people think that Bantsuma’s true nature can be seen in Yabure Daiko (1949), where he plays the role of a tyrannical man feared by his family. A lot of people assumed that Bantsuma would be like that as a father, but he was the complete opposite, always putting his family first. In fact, the role he played in Abare Jishi of a father who would do anything for his children is a more accurate representation of Bantsuma, who was an affectionate and well-rounded family man. However, Bantsuma’s dedication to his work was also strong, and he returned to the set of his movie, ready to work, the day after his wedding.
Later Film Career
It seems that Bantsuma’s sensitivity was beginning to make its way into the work he was producing. A year after entering NikkatsuNikkatsu
is a Japanese entertainment company well known for its film and television productions. It is Japan's oldest major movie studio. The name Nikkatsu is an abbreviation of Nippon Katsudō Shashin, literally "Japan Cinematograph Company".-History:...
, Bantsuma co-starred with Kataoka Chiezo in the all-star film, Chushingura
Chushingura
is the name for fictionalized accounts of the historical revenge by the Forty-seven Ronin of the death of their master, Asano Naganori. Including the early , the story has been told in kabuki, bunraku, stage plays, films, novels, television shows and other media...
(1938). Playing the role of Kuranosuke Oishi, Bantsuma displayed his perfected acting skills with his powerful performance. Then in 1943 he starred in the film Muho matsu no Issho, playing a poor rickshaw man. It was a role that would not normally have been taken on by such a great star but director Hiroshi Inagaki
Hiroshi Inagaki
was a Japanese filmmaker most known for the Academy Award-winning Samurai I: Musashi Miyamoto, which he directed in 1954.-Career:Born in Tokyo as the son of a shinpa actor, Inagaki appeared on stage in his childhood before joining the Nikkatsu studio as an actor in 1922...
, whom Bantsuma had previously worked with, was determined to get him on board. After initially turning down the role, Bantsuma finally agreed and went on to play a role with a profound humanistic approach that lent great depth to both the character and the movie. In preparation for the role of the poor rickshaw man, Bantsuma stayed in character even whilst at home. His first son, Takahiro Tamura
Takahiro Tamura
Takahiro Tamura was a Japanese film actor. He appeared in 100 films between 1954 and 2005. He and his younger brothers Masakazu and Ryō were known as the three Tamura brothers...
described watching his father eat dried fish and drink sake in the style of the character of the film.
During this period of his career, Japan soon lost the war
World War II
World War II, or the Second World War , was a global conflict lasting from 1939 to 1945, involving most of the world's nations—including all of the great powers—eventually forming two opposing military alliances: the Allies and the Axis...
and the US army
United States Army
The United States Army is the main branch of the United States Armed Forces responsible for land-based military operations. It is the largest and oldest established branch of the U.S. military, and is one of seven U.S. uniformed services...
began to restrict Jidaigeki
Jidaigeki
is a genre of film, television, and theatre in Japan. The name means "period drama" and is usually the Edo period of Japanese history, from 1603 to 1868. Some, however, are set much earlier—Portrait of Hell, for example, is set during the late Heian period—and the early Meiji era is also a popular...
as a ‘hotbed of feudalism.’ Thus, the stars of Jidaigeki
Jidaigeki
is a genre of film, television, and theatre in Japan. The name means "period drama" and is usually the Edo period of Japanese history, from 1603 to 1868. Some, however, are set much earlier—Portrait of Hell, for example, is set during the late Heian period—and the early Meiji era is also a popular...
formed troupes and traveled around the country. During this time, Bantsuma perfected his skills further and in 1948 he peaked once again with his performance in the film Ōshō
Osho
Oshō is the Japanese reading of the Chinese he shang , meaning a high-ranking Buddhist monk or highly virtuous Buddhist monk. It is also a respectful designation for Buddhist monks in general and may be used with the suffix -san...
. Director Daisuke Itō
Daisuke Itō (film director)
was a Japanese film director and screenwriter who played a central role in the development of the modern jidaigeki and samurai cinema.-Career:Born in Ehime Prefecture, Itō joined the actors school at Shōchiku in 1920, but soon began writing screenplays under the recommendation of Kaoru Osanai. He...
spoke of Bantsuma’s wide range and depth, his convincing and humanistic portrayal of the protagonist, and stated that despite his big status in the film industry, Bantsuma was the obvious choice for the part of Sankichi, a man of the lowest social ranks.
On 7 July 1953, Bantsuma died at the age of 51 of cerebral hemorrhage while filming Abare-Jishi. A beautiful grave has been built in his memory in Nisonin
Nisonin
is a Tendai Buddhist temple complex in Ukyō-ku, a western ward in the city of Kyoto, Japan. The temple's official name is . The temple is a popular destination during the Japanese maple viewing season .-Two revered images:...
, Kyoto
Kyoto
is a city in the central part of the island of Honshū, Japan. It has a population close to 1.5 million. Formerly the imperial capital of Japan, it is now the capital of Kyoto Prefecture, as well as a major part of the Osaka-Kobe-Kyoto metropolitan area.-History:...
and Bantsuma lives on through the continued popularity of his films and the impact he made to the history of Japanese cinema
Cinema of Japan
The has a history that spans more than 100 years. Japan has one of the oldest and largest film industries in the world – as of 2009 the fourth largest by number of feature films produced. Movies have been produced in Japan since 1897, when the first foreign cameramen arrived...
.
Filmography
- Kosuzume TogeKosuzume Togeis a 1923 black and white Japanese silent film directed by Koroku Numata. Despite the fact jidaigeki star Tsumasaburo Bando only appears in a minor role, the film is significant because it is the oldest preserved film featuring the actor...
(1923, Director: Numata Koroku) - GyakuryuGyakuryuis a 1924 black and white Japanese silent film with benshi accompaniment directed by Buntaro Futagawa. Often acclaimed as the predecessor to Orochi , it tells the tale of a nihilistic samurai, played by Tsumasaburo Bando whose mother is killed, whose sister is used and deceived and who loses the...
(1924, Director: Buntaro Futagawa) - Kageboshi (1925, Director: Futagawa Buntaro)
- OrochiOrochi (film)is a 1925 black and white Japanese silent film with benshi accompaniment directed by Buntarō Futagawa. This is the most popular and beloved film of Tsumasaburō Bandō, featuring the star at the height of his fame.-Synopsis:...
(1925, Director: Buntaro Futagawa) - Ranto no Chimata (1926, Director: Yasuda Kempo)
- Chizome no Jujika (1927, Director: Norikuni Yasuda)
- Sakamoto Ryoma (1928, Director: Edamasa Yoshiro)
- Karasu-gumi (1930, Director: Minoru Inuzuka)
- Koina no Ginpei, Yuki no WataridoriKoina no Ginpei, Yuki no Wataridoriis a 1931 black and white Japanese silent film with benshi accompaniment directed by Tomikazu Miyata. It is based on the original story of a wandering gambler written by popular author Shin Hasegawa...
(1931, Director: Tomikazu Miyata) - Sunae Shibari-Morio Jushiro (1935, Director: Minoru Inuzuka)
- Niino Tsuruchiyo (1935, Director: Ito Daisuke)
- Chikemuri Takadanobaba (1937, Director: Hiroshi InagakiHiroshi Inagakiwas a Japanese filmmaker most known for the Academy Award-winning Samurai I: Musashi Miyamoto, which he directed in 1954.-Career:Born in Tokyo as the son of a shinpa actor, Inagaki appeared on stage in his childhood before joining the Nikkatsu studio as an actor in 1922...
) - ChushinguraChushingurais the name for fictionalized accounts of the historical revenge by the Forty-seven Ronin of the death of their master, Asano Naganori. Including the early , the story has been told in kabuki, bunraku, stage plays, films, novels, television shows and other media...
(1938, Director: Makino Masahiro, Ikeda Tomiyasu) - Mazo (1938, Director: Hiroshi InagakiHiroshi Inagakiwas a Japanese filmmaker most known for the Academy Award-winning Samurai I: Musashi Miyamoto, which he directed in 1954.-Career:Born in Tokyo as the son of a shinpa actor, Inagaki appeared on stage in his childhood before joining the Nikkatsu studio as an actor in 1922...
) - Zoku Mazo-Ibara Ukon (1939, Hiroshi InagakiHiroshi Inagakiwas a Japanese filmmaker most known for the Academy Award-winning Samurai I: Musashi Miyamoto, which he directed in 1954.-Career:Born in Tokyo as the son of a shinpa actor, Inagaki appeared on stage in his childhood before joining the Nikkatsu studio as an actor in 1922...
) - Tsubanari Ronin (1939, Director: Ryohei AraiRyohei Araiwas a Japanese film director. He directed films from the 1930s to 1950s, especially jidaigeki and ghost movies based on kaidan.- Filmography :Ryohei Arai directed 47 films:* Tsubanari Ronin * Zoku Tsubanari Ronin...
) - Zoku Tsubanari Ronin (1940, Director: Ryohei AraiRyohei Araiwas a Japanese film director. He directed films from the 1930s to 1950s, especially jidaigeki and ghost movies based on kaidan.- Filmography :Ryohei Arai directed 47 films:* Tsubanari Ronin * Zoku Tsubanari Ronin...
) - Muhomatsu no issho (1943, Director: Inagaki Hiroshi)
- Noroshi wa Shanghai ni agaru (1944, Director: Hiroshi InagakiHiroshi Inagakiwas a Japanese filmmaker most known for the Academy Award-winning Samurai I: Musashi Miyamoto, which he directed in 1954.-Career:Born in Tokyo as the son of a shinpa actor, Inagaki appeared on stage in his childhood before joining the Nikkatsu studio as an actor in 1922...
, Feng Yuek) - Tokai Suikoden (1945, Director: Hiroshi InagakiHiroshi Inagakiwas a Japanese filmmaker most known for the Academy Award-winning Samurai I: Musashi Miyamoto, which he directed in 1954.-Career:Born in Tokyo as the son of a shinpa actor, Inagaki appeared on stage in his childhood before joining the Nikkatsu studio as an actor in 1922...
, Daisuke Itō) - Suronin Makaritoru (1947, Director: Daisuke Itō)
- Tsukinode no Ketto (1947, Director: Santaro Marune)
- Oushou (1948, Director: Daisuke Itō)
- Yabure-daiko (1949, Director: Keisuke KinoshitaKeisuke Kinoshitawas a Japanese film director.Although lesser known internationally than his fellow filmmakers such as Akira Kurosawa , Kenji Mizoguchi and Yasujirō Ozu , Keisuke Kinoshita was nonetheless a household figure at home beloved by audience and critics alike, especially in the forties through the sixties...
) - Oboro Kago (1951, Director: Daisuke Itō)
- Oedo Go-nin Otoko (1951, Director: Daisuke Itō)
- Inazuma Soshi (1951, Director: Hiroshi InagakiHiroshi Inagakiwas a Japanese filmmaker most known for the Academy Award-winning Samurai I: Musashi Miyamoto, which he directed in 1954.-Career:Born in Tokyo as the son of a shinpa actor, Inagaki appeared on stage in his childhood before joining the Nikkatsu studio as an actor in 1922...
) - Abare-jishi (1953, Director: Osone Tatsuo)