Different Angle Query on Japanese Film Remakes
kiko at main.teikyo-u.ac.jp
Wed Jul 12 01:01:33 EDT 2006
I'll try to scan what you picked up in Tanaka's books, which I need to find
in the university library.
I've never been informed of the Westrern source that could have contributed
to the makin g of Tokyo Monogatari . I wish to have that myself, but I
doubt it had any.
----- Original Message -----
??? : "Michael McCaskey" <mccaskem at georgetown.edu>
?? : <KineJapan at lists.acs.ohio-state.edu>
???? : 2006?7?12? 1:19
?? : Re: Different Angle Query on Japanese Film Remakes
> Dear Minaguchi-san,
> Thank you for your new information on Stella Dallas, and for raising the
> Ozu point. According to Sato Tadao, in both Eiga shisoshi and Nihon eiga
> shi, Ozu engaged in at least the "remakes" below, but Sato only gives the
> titles, and little more information--I followed up in more detail to check
> each out a bit more:
> Ozu Yasujiro’s 1933 film Dekigokoro, “Passing Fancy,” is about the trials
> and tribulations in a family where the father becomes involved with
> another woman, and this is resented by his son. This film is supposed to
> have been inspired by King Vidor’s The Champ, a 1931 American film about a
> boxer who encounters a woman his son becomes jealous of – until the son
> finds out the woman is actually his mother.
> Ozu’s 1934 Ukigusa Monogatari, is the story of a father, a traveling
> actor, who has a reunion with his illegitimate son after many years of
> separation, in a town where the acting troupe is on tour. The son thinks
> the man is his uncle, but a female performer in the troupe, emotionally
> attached to the father, becomes resentful of this newly revived
> relationship, and sets out to try to undermine it. Ozu later remade this
> 1934 silent film, in a 1959 version in color with sound, shortening the
> title to Ukigusa.
> Ozu’s Ukigusa plot is supposed to have been based on that of The Barker, a
> 1928 American film directed by George Fitzmaurice, who had directed
> Rudolph Valentino in Son of the Sheik in 1926, and later directed Greta
> Garbo in Mata Hari in 1931. In The Barker, a carnival barker encounters
> his long-lost son, but the barker’s current girlfriend becomes resentful
> when she discovers the barker has had another family, and the barker tries
> to conceal his relationship with her from his son. She then tries to
> seduce the son as a sort of revenge. The Barker was remade in 1933, as
> Hoopla, with Clara Bow, and again in 1945 as The Diamond Horseshoe,
> starring Betty Grable. The Barker surfaced once again, as an early US TV
> drama, in the 1952 Broadway Television Theater series, under its original
> Ozu made a 1936 film, Hitori Musuko (Only Son), his first sound film,
> about a self-sacrificing mother who sends her son off to Tokyo, and works
> hard to support him so he can have a better life than she has. The son has
> his own ideas of what success is, however, and he and his mother clash
> when she feels he has disappointed her, even marrying without consulting
> her first. (http://www.shochiku.co.jp/video/dvd/2003/da0269_5.html,
> accessed July 8, 2006).
> This Ozu picture is said to have been inspired by Leo McCarey’s Make Way
> for Tomorrow, though it’s hard to see how — there must be a different US
> picture related to this one, but apparently Make Way for Tomorrow is
> actually where Ozu got the idea for
> (4) Tokyo Story, where two old people also have a sad time traveling.
> Ozu’s Chichi Ariki, “There Was a Father,” a 1942 film about a
> self-sacrificing widowed father, a teacher, devoted to bettering his own
> son’s life, was based on the 1927 American film Sorrell and Son, about a
> British father who devotes himself to putting his son through medical
> school. This film was directed and scripted by Herbert Brenon, who had
> made the first film version of The Great Gatsby the year before. Sorrell
> and Son began as a very popular novel by the British writer Warwick
> Deeping, and in 1933 it was remade in Britain as a sound film.
> If I've made any mistakes, please let me know so I can make corrections.
> It seems unusual that Sato focused so much on these Ozu films as remakes.
> He gives few other specific remake examples by anyone else. I checked
> these all from other angles, and they all do seem to be verified remakes.
> I have two books on Ozu, but they say nothing about these remakes, so I'm
> getting other books on Ozu as well, including the one about Ozu by Sato.
> I have also followed Aaron Gerow's very good suggestion, and put in an
> interlibrary loan request for the Yamamoto Kikuo book, which seems to be
> over 600 pages, so I should be able to find more numerous remake examples
> by many other directors verified there. I had not planned to write so much
> about early Japanese remakes of foreign films, but it seems I need to find
> out about and write about more of them.
> With Many Thanks To All,
> Michael McCaskey
> ----- Original Message -----
> From: kiseko minaguchi <kiko at main.teikyo-u.ac.jp>
> Date: Monday, July 10, 2006 9:19 pm
> Subject: Re: Different Angle Query on Japanese Film Remakes
>> I would say Ozu's films have many which got inspiration from
>> films, which he intensively saw while stationed abroad. Concerning
>> films, I mentioned much about the Japanese remaking of Stella Dallas
>> in my book CINEMA MATERNITY (sairyusha 2005. language: Japanese)
>> ----- Original Message -----
>> ??? : "Aaron Gerow" <gerowaaron at sbcglobal.net>
>> ?? : <KineJapan at lists.acs.ohio-state.edu>
>> ???? : 2006?7?7? 14:33
>> ?? : Re: Different Angle Query on Japanese Film Remakes
>> > On 2006.7.6, at 10:14 AM, Michael McCaskey wrote:
>> >> I also am trying to find some information, as historical
>> background, on
>> >> any significant pre-1940 Japanese remakes of any US or European
>> >> There must have been some, I would think.
>> > The main source, if it has not already been mentioned, is
>> Yamamoto Kikuo's
>> > Nihon eiga ni okeru gaikoku eiga no eikyo (Waseda Shuppanbu,
>> 1983). It
>> > concentrates on the prewar and, since it focuses on contemporary
>> > of influence, mentions many films that don't even exist today.
>> > Aaron Gerow
>> > Assistant Professor
>> > Film Studies Program/East Asian Languages and Literatures
>> > Yale University
>> > 53 Wall Street, Room 316
>> > PO Box 208363
>> > New Haven, CT 06520-8363
>> > USA
>> > Phone: 1-203-432-7082
>> > Fax: 1-203-432-6764
>> > e-mail: aaron.gerow at yale.edu
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