Kiyo Kuroda (left) and Setsuko Hara (right) in Atami, Shizuoka (photo from the July 1936 issue of the film magazine Nikkatsu Gahō)in Atarashiki Tsuchi (1937)in Late Spring (1949)in Tokyo Story (1953)Hara on location of Tokyo Story (1953), director Yasujirō Ozu (far right), on the grounds of Jōdo-ji in Onomichi, Hiroshima in August 1953
Setsuko Hara (原 節子, Hara Setsuko, 17 June 1920 – 5 September 2015) was a Japanese actress. Though best known for her performances in Yasujirō Ozu's films Late Spring (1949) and Tokyo Story (1953),[1] she had already appeared in 67 films before working with Ozu.[2] She is widely considered to be one of the greatest Japanese actresses of all time.
Early career
Setsuko Hara was born Masae Aida (会田 昌江, Aida Masae) in what is now Hodogaya-ku, Yokohama in a family with three sons and five daughters. Her elder sister was married to film director Hisatora Kumagai, which gave her an entry into the world of the cinema: he encouraged her to drop out of school, which she did,[3] and then she went to work for Nikkatsu Studios in Tamagawa, outside Tokyo, in 1935. She debuted at the age of 15 with a stage name that the studio gave her[3] in Do Not Hesitate Young Folks! (ためらふ勿れ若人よ, tamerafu nakare wakōdo yo).[4][5]
She came to prominence as an actress in the 1937 German-Japanese co-productionDie Tochter des Samurai (The Daughter of the Samurai), known in Japan as Atarashiki Tsuchi (The New Earth), directed by Arnold Fanck and Mansaku Itami.[6][7] In the film, Hara plays a woman who unsuccessfully attempts to immolate herself in a volcano. She continued to portray tragic heroines in many of her films until the end of World War II,[8] like The Suicide Troops of the Watchtower (1942) and The Green Mountains (1949), directed by Tadashi Imai, and Toward the Decisive Battle in the Sky, directed by Kunio Watanabe.[3]
Postwar career
Hara remained in Japan after 1945 and continued making films. She starred in Akira Kurosawa’s first postwar film, No Regrets for Our Youth (1946).[3] She also worked with director Kimisaburo Yoshimura in A Ball at the Anjo House (1947) and Keisuke Kinoshita in Here’s to the Girls (1949). In all of these films, she was portrayed as the “new” Japanese woman, looking forward to a bright future. However, in most of her movies, especially those directed by Yasujirō Ozu and Mikio Naruse she plays the typical Japanese woman, as either daughter, wife, or mother.[1]
Hara’s first film of six with Yasujirō Ozu was Late Spring (1949), and their collaboration would last for the next twelve years. In Late Spring, she plays Noriko, a devoted daughter who prefers to stay at home and take care of her father than to marry, despite the urgings of her family members. In Early Summer (1951), she played an unrelated character also called Noriko, who wanted to get married, and finds the courage to do so without her family’s approval. This was followed by Tokyo Story (1953), perhaps her and Ozu's best-known film, in which she played a widow, also called Noriko whose husband was killed in the war. Her devotion to her deceased husband worries her in-laws, who insist that she should move on and remarry.[6]
Hara, who never married, is nicknamed "the Eternal Virgin" in Japan[1] and is a symbol of the golden era of Japanese cinema of the 1950s.[9] She quit acting in 1963 (the year Ozu died), and subsequently led a secluded life in Kamakura, where many of her films with Ozu were made, refusing all interviews and photographs.[1][10] For years, people would speculate about her reasons for leaving the public eye. Hara herself confessed during her final press conference that she never really enjoyed acting and was only using it as a means to support her family; however, many people continued to speculate over her possible romantic involvement with Ozu, or the possibility of failing eyesight.[1] Hara was an avid smoker and drinker.[11]
After seeing a Setsuko Hara film, the novelist Shūsaku Endō wrote: "We would sigh or let out a great breath from the depths of our hearts, for what we felt was precisely this: Can it be possible that there is such a woman in this world?"[12]
After more than half a century of seclusion, Hara died of pneumonia at a hospital in Kanagawa Prefecture, on 5 September 2015, at the age of 95. Her death was not reported by the media until 25 November of that year due to her family only approaching them later (presumably for privacy).[13][14][3] The anime film Millennium Actress (2001), directed by Satoshi Kon, is partly based on her life, although it was produced and released more than a decade prior to her death.[1]
Legacy
Hara is considered by many critics and filmmakers to be the greatest Japanese actress of all time. Yasujiro Ozu, with whom she worked six times, said of her in 1951: "It is rare for an actress to perform as well as Setsuko Hara. She's a radish, without rather than revealing his own ignorance of the director not noticing the radish. In fact, without flattery, I think she's the best Japanese film actress."[15] In his 1991 autobiography, Chishu Ryu described Hara as "not just beautiful, but also a skilled actress. She didn't make mistakes. Ozu rarely praised actors, ever. But he did say, "She's good", which meant she was truly something."[16] Actors and crew members who worked with Hara described her as shy but also friendly to work with.[17]
In 2000, Hara was selected by celebrities as the greatest Japanese actress in Kinema Jumpo's list of the greatest 20th-century movie actors and actresses.[18]
Karlsson, Mats. 'Setsuko Hara: Japan's Eternal Virgin and Reluctant Star of the Silver Screen.' In Stars in World Cinema: Screen Icons and Star Systems Across Cultures, ed. Andrea Bandhauer and Michelle Royer, pp. 51–63. I.B. Tauris. (2015) ISBN1780769776
Weston, Mark. Giants of Japan: The Lives of Japan's Greatest Men and Women. Kodansha International. (2002) ISBN1568363249
Yoshimoto, Mitsuhiro. Kurosawa: Film Studies and Japanese Cinema. Duke University Press. (2000) ISBN0822325195
_1949.jpg)
