Tadashi Imai | |
|---|---|
Tadashi Imai in the April 1953 issue ofAsahi Camera | |
| Born | (1912-01-08)January 8, 1912 |
| Died | November 22, 1991(1991-11-22) (aged 79) |
| Occupation | Film director |
| Years active | 1939–1991 |
Tadashi Imai (今井正,Imai Tadashi; January 8, 1912 – November 22, 1991) was a Japanesefilm director known forsocial realist filmmaking informed by aleft-wing perspective.[2] His most noted films includeAn Inlet of Muddy Water (1953) andBushido, Samurai Saga (1963).
Although leaning towards left-wing politics already atTokyo University, where he joined aCommunist student group, Imai's directing career, after serving ascontinuity writer at J.O. studios (laterToho), started in 1939 with a series of films promoting the war efforts of themilitarist regime.[3] Later calling these films "the biggest mistake of my life", he soon turned to socially conscious themes after thewar.[4]Aoi sanmyaku (1949), although a light comedy, observed the educational system, and was successful both with moviegoers and critics.[5] While his 1950 dramaUntil We Meet Again portrayed a young couple's doomed love against the backdrop of the Pacific War, the 1953 anti-war filmTower of Lilies was a stark account of untrained female students forced into aiding military troops during the final stage of theBattle of Okinawa. Other films addressed the present-day struggles of day labourers (And Yet We Live), troubled youths (Jun'ai monogatari), poor farmers (The Rice People) and children of interracial relationships (Kiku to Isamu). Yet the films regarded his most important of this era had a historical instead of a contemporary setting:An Inlet of Muddy Water (1953), based on stories byIchiyō Higuchi, took a look at the fate of a group of women during theMeiji era,Night Drum (1958), scripted byKaneto Shindo, denounced theSamurai honour codex in a tale about adultery and revenge during theEdo period.[3][4] Imai returned to the latter subject in the critically acclaimedBushido, Samurai Saga (1963) and inRevenge (1964).
Japanese critics tended to define Imai's way of storytelling as "nakanai realism", a "realism without tears", a fact questioned by film historian Joan Mellen who saw his work repeatedly "close to the sentimental".[4] In an interview, Imai himself summed up his films as "centered on human tragedies", which locates them close to the works ofKeisuke Kinoshita who addressed similar topics (though in a less political manner) and whom Imai admired.[6] While film historians acknowledge Imai's solid directorial skills, the lack of a consistent style, and tendency to focus more on consequences than analysis of his themes, have been recurring subjects of criticism.[3][4]
Imai received theKinema Junpo Award for Best Director forMahiru no ankoku,The Rice People andKiku to Isamu. All three films plusUntil We Meet Again andAn Inlet of Muddy Water were also awarded Best Film.
| Year of award | Name of Award | Awarding organization | Country of origin | Film title (if applicable) |
|---|---|---|---|---|
| 1946 | Best Director[7] | Mainichi Film Awards | Japan | Minshū no Teki |
| 1950 | Best Film[8] | Blue Ribbon Awards | Until We Meet Again | |
| Best Director[8] | ||||
| Best Film[9] | Mainichi Film Awards | |||
| 1953 | Best Film[10] | Blue Ribbon Awards | An Inlet of Muddy Water | |
| Best Director[10] |
| |||
| Best Film[11] | Mainichi Film Awards | An Inlet of Muddy Water | ||
| Best Director[11] | ||||
| 1956 | Best Film[12] | Blue Ribbon Awards | Mahiru no ankoku | |
| Best Director[12] | ||||
| Best Film[13] | Mainichi Film Awards | |||
| Best Director[13] | ||||
| 1957 | Best Film[14] | Blue Ribbon Awards | Rice | |
| Best Director[14] | ||||
| Best Film[15] | Mainichi Film Awards | Rice | ||
| Best Director[15] |
| |||
| 1958 | Best Director[16] | Berlin International Film Festival | Germany | Jun'ai monogatari |
| 1959 | Best Film[17] | Blue Ribbon Awards | Japan | Kiku to Isamu |
| Best Film[18] | Mainichi Film Awards | |||
| 1963 | Golden Bear[19] | Berlin International Film Festival | Germany | Bushido, Samurai Saga |
| 1991 | Special Award[20] | Mainichi Film Awards | Japan |