One of the promising highlights for 2020 was the Locarno Film Festival’s intention to screen a retrospective of the work of Japanese actor and director Tanaka Kinuyo. I have long been a fan of this talented and pioneering film-maker so I was working on plans to be able to attend. The arrival of the pandemic torpedoed this prospect. However, the Locarno Festival postponed the retrospective to 2021. Now, whilst only a possibility, there was a prospect of being able to enjoy this programme of films in the summer; 35 titles including a large number in 35mm prints.
Locarno to fete Japan’s Kinuyo Tanaka in first retrospective devoted to female filmmaker.
The Locarno Film Festival will celebrate the work of Japanese director and actress Kinuyo Tanaka at its upcoming 73rd edition (August 5-15), in its first ever retrospective dedicated to a female artist.
Tanaka (1909 –1977) was a pioneering figure in Japanese cinema throughout her 50-year career, appearing in the films of legendary directors Yasujiro Ozu and Kenji Mizoguchi before striking off to direct her own films.
“This is the first time that the festival will be dedicating its retrospective to a female director, after 73 years,” said Locarno Film Festival artistic director Lili Hinstin, who is embarking on her second edition at the helm.
At the same time, she added, it also raised the question of how an artist like Tanaka – with such “an original and exciting filmography” had been overlooked for so long.
Tanaka first rose to fame in the 1920s, initially working under contract for the Shochiku Film Company, the film department of which is celebrating its centenary this year. There, she collaborated with Japan’s best-known “modernist” directors such as Heinosuke Gosho, Ozu and Hiroshi Shimizu.
In the years immediately after World War Two and the 1950s, her striking screen presence became a hallmark of some of the best work by directors of the golden age of Japanese cinema, including Keisuke Kinoshita, Mikio Naruse and Kaneto Shindo.
She also renewed her collaboration with Ozu but her most important artistic partnership was with Mizoguchi, with whom she made 14 films, including the 1952 drama The Life Of Oharu (Saikaku ichidai onna), which premièred at the Venice Film Festival, winning best international film.
Around this time, Tanaka also started going behind the camera to direct a number of films of her own with various studios. At the time, she was only the second women in the history of Japanese cinema to direct after Tazuko Sakane.
Locarno described her six features films as “innovative portraits of women’s roles and conditions in the changing social environment of modern Japan”. The retrospective will screen Tanaka’s complete filmography as a director as well as a selection of 250-odd films in which she appeared.. (Melanie Goodfellow, 23rd January 2020).
Then a friend informed me of the bad news; set out in a report in Screen Daily:
The Locarno Film Festival will turn the spotlight on the work of late Italian director Alberto Lattuada for the retrospective of its 74th edition, scheduled to run from August 4- 14 this year.
The programme is the first element of Locarno’s 74th edition to be unveiled by the festival’s newly appointed artistic director Giona A. Nazzaro.
Plans have been dropped for a retrospective celebrating the work of Japanese director and actress Kinuyo Tanaka, which was announced by Nazzaro’s predecessor Lili Hinstin for last year’s cancelled edition as the festival’s first-ever retrospective dedicated to a female artist.
Regarding the decision to cancel the Kinuyo Tanaka retrospective, a spokesperson for the festival said: “The programme was a personal choice of [former artistic director] Lili Hinstin. Therefore, in respect to her work and despite it is a great programme, we have decided to propose another author to our audience for the next edition of the festival.”
My thoughts are best summed up by a borrowing from Oscar Wilde:
“To lose one female artist, dear festival, may be regarded as a misfortune; to lose two looks like carelessness.”
I also realised how fortunate I was that in 2012 we had a small but very fine retrospective of the work of Tanaka Kinuyo both as an actor and as a film director at the Leeds International Film Festival.
” Retrospectives has an especially strong selection this year. The ‘special focus’ is a profile of the Japanese actress and filmmaker Kinuyo Tanaka. She worked through several different periods of Japanese film and with three of its greatest masters, Kenji Mizoguchi, Mikio Naruse and Yasujiro Ozu. Her scene at the end of Sansho Dayu (1954) is one of the most sublime endings in World Cinema. She was also a pioneer woman direction in the Industry. There are six of her films, all in either 35 or 16mm. And there is a workshop on November 3rd at the Centre for World Cinemas at the University of Leeds.
While Kinuyo Tanaka (1909-77) is widely recognised as one of the greatest actresses in the history of her nation’s cinema, a lesser known fact is that she was also the first Japanese woman to build a body of work as a filmmaker in her own right. This year’s LIFF Special Focus aims to remedy this by presenting two of Kinuyo Tanaka’s rarely-screened directorial works alongside a selection of her finest performances in films by three of the masters of Japanese cinema, Kenji Mizoguchi, Yasujiro Ozu and Mikio Naruse. Presented in collaboration with the Centre for World Cinemas, University of Leeds and curated by Michael Smith.”
The posts on the retrospective, with plot information and the quotations from the English sub-titles, include:
A Hen in the Wind (Kaze no naka no mendori, Japan 1948)
Mother (Okasan), Japan 1952
Sansho the Bailiff (Sansho Dayu, Japan 1954)
The Eternal Breasts (Chibusa yo eien nare, Japan 1955)
Girls of dark (Onna bakari no yoru, Japan 1961)
Festival Workshop on Tanaka Kinuyo