In the world of Japanese cinema, the silent era stands out due to its storytelling that transcends the spoken word, unfolding through the art of visuals and human expressions. From the bustling harbors of Yokohama to the intimate confines of domestic life, each entry on this list captures a facet of Japanese culture and the universal themes that connect us all. These films, devoid of dialogue and reliant on the power of imagery, gesture, and expression, offer a window into the human condition, drawing audiences into tales of love, struggle, and self-discovery. Without further ado, let’s take a look at the ten best silent Japanese films of all time.
10. The Water Magician – Kenji Mizoguchi (1933)
In “The Water Magician,” the narrative revolves around Taki no Shiraito, a talented female performer who has mastered the art of manipulating water for her stage act. Her personal life becomes entwined with Kinya Murakoshi, a young carriage driver with aspirations to study law, whom she decides to support financially. Their bond deepens into affection, but their commitment to one another faces daunting challenges when Shiraito is implicated in a crime, leading her down a path of sacrifice and determination. The film unfolds as a chronicle of their love and the changes of fate that test their resolve.
Kenji Mizoguchi’s direction brings a delicate sensitivity to the portrayal of Shiraito, exploring themes of love, devotion, and the societal role of women. The film is renowned for its thematic beauty and its expressive use of visual metaphors, particularly in the depiction of water, which serves as a recurring motif reflecting the protagonist’s emotional state. Mizoguchi’s craftsmanship in storytelling is complemented by the film’s impressive cinematography, which captures the essence of the characters’ emotional turmoil. “The Water Magician” stands out as a work that marries the spectacle of silent cinema with a poignant human drama.
9. Passing Fancy – Yasujirō Ozu (1933)
“Passing Fancy” tells the tale of Kihachi, a single father living in Tokyo’s lower depths, who struggles to raise his young son, Tomio. Amid his daily hardships, Kihachi develops an infatuation with Harue, a woman much younger than him who has recently arrived in town. Despite his earnest efforts, his clumsy attempts at romance often lead to humorous and awkward situations. His affection for Harue is earnest yet tinged with the self-awareness of their differing social worlds. As Kihachi navigates the complexities of his feelings, his son Tomio also faces his own set of challenges, growing up in the shadows of poverty.
Yasujirō Ozu’s work in “Passing Fancy” is a remarkable blend of humor and pathos, a characteristic feature of his early silent era. The film examines the nuances of fatherhood, the pursuit of love, and the simple joys and sorrows of everyday life. Ozu’s mastery of the domestic drama is evident, as he skillfully portrays the intimate moments between father and son, crafting a touching narrative that resonates with authenticity. In the silent gestures and glances of his characters, Ozu finds a universal language that speaks to the enduring bonds of family, making this one of the best silent Japanese films of all time.
8. Tokyo Chorus – Yasujirō Ozu (1931)
“Tokyo Chorus” depicts the plight of an ordinary Tokyo office worker, Shinji Okajima, who loses his job after standing up for an elderly colleague. This act of defiance sends Okajima and his family into an economic downturn, forcing him to confront the harsh realities of unemployment during Japan’s post-war depression. Okajima’s journey is a reflection of the sacrifices and moral decisions one must navigate in times of adversity. His search for new employment is fraught with indignity and struggle, testing the resilience of his familial bonds. Meanwhile, his wife, Sugako, makes her own sacrifices to ensure the well-being of their children amidst their financial crisis, embodying the quiet strength that underpins many households during times of hardship.
Ozu’s film balances the comedy and tragedy inherent in the human condition, as Okajima’s efforts to maintain his dignity unfold with both subtle humor and sharp social commentary. “Tokyo Chorus” captures the zeitgeist of the era, reflecting on the collective social conscience of a generation grappling with rapid modernization and economic uncertainty. Ozu’s tendency for framing scenes that reflect the internal states of his characters shines through, using the silent film medium to its full potential. Through the silence, the expressive faces and body language of the actors convey a narrative as compelling as any spoken dialogue.
7. Apart from You – Mikio Naruse (1933)
“Apart from You” centers on the strained relationship between a young geisha named Kikue and her teenage son, Yoshio, who is ashamed of her profession. As Yoshio becomes increasingly resentful and detached, Kikue worries about the impact of her career on his life and morality. Yoshio’s struggle with his mother’s line of work offers a glimpse into the personal cost of survival within certain societal roles. In an effort to set him on a better path, she enlists the help of one of her kinder clients, Seiji, to mentor the boy. Seiji’s intervention highlights the influence of external figures in the shaping of a young person’s character. The dynamics of mother, son, and the world they inhabit reveal the conflicts and reconciliations that define their existence.
Mikio Naruse’s exploration of societal pressures and family dynamics is rendered with a compassionate gaze in this silent drama. Despite their silent world, the characters communicate volumes through their expressions and gestures, unfolding layers of narrative. The director’s nuanced approach captures the emotional undercurrents and the subtle tensions that permeate the lives of his characters. Naruse’s ability to depict the human spirit’s complexity within the film’s constrained circumstances is a testament to his narrative skill. “Apart from You” is a tender and understated examination of the bonds that both connect and distance us from those we love, making it one of the best silent Japanese films of all time.
6. Every-Night Dreams – Mikio Naruse (1933)
“Every-Night Dreams” follows the story of Omitsu, a hardworking bar hostess endeavoring to support her young son, Hiroshi, after her husband, Mizuhara, abandons them. When Mizuhara returns unexpectedly, attempting to reconcile and rebuild their fractured family, the dynamics of their past relationship resurface, leading to a precarious balance of hope and pragmatism. Omitsu’s days are a constant battle, and Mizuhara’s return presents both a challenge and a glimmer of possible reconciliation. Omitsu’s struggle to provide a stable life is countered by the unreliability of Mizuhara’s intentions, leading to doubts about her future and the well-being of her child.
Mikio Naruse’s storytelling prowess is evident in his portrayal of Omitsu’s resilience and the emotional complexities of a family in disarray. The film’s focus on the nuances of daily life underlines the relentless effort required to maintain even a semblance of ordinary life, articulately capturing the essence of human tenacity and the conflict between personal desires and parental responsibilities. The stark contrast between Omitsu’s quiet strength and Mizuhara’s inconsistent presence paints a compelling picture of their troubled union. With restrained performances and a contemplative narrative pace, “Every-Night Dreams” crafts a vivid snapshot of life’s uncertainties and the sacrifices made in the pursuit of happiness.
5. Japanese Girls at the Harbor – Hiroshi Shimizu (1933)
In “Japanese Girls at the Harbor,” the lives of two young girls, Sunako and Dora, unfold in the port city of Yokohama. Sunako falls into a troubled relationship with a local playboy leading to a chain of events marked by jealousy and betrayal. Her journey is a testament to the complexities of the heart, as Sunako navigates the treacherous waters of young love. After a violent act alters their destinies, Sunako departs on a path of redemption, while Dora’s life takes a different turn, showcasing the divergent paths one’s choices can lead to. This pivotal moment underscores the fragility of their friendship and the permanent impact of their decisions.
Hiroshi Shimizu’s direction is notable for its fluid storytelling and the picturesque setting that serves as a witness to the characters’ tumultuous emotions. The harbor, with its constant ebb and flow, mirrors the fluctuating fortunes of Sunako and Dora’s lives. His exploration of young love is conveyed with a keen understanding of the psychological landscapes of his characters, making this one of the best silent Japanese films ever made. Through deft camerawork, Shimizu articulates the internal struggles of the protagonists, heightening the emotional gravity of their narrative arcs. The film’s visual narrative is enhanced by Shimizu’s innovative use of location shooting, lending an air of authenticity to the tale.
4. An Inn in Tokyo – Yasujirō Ozu (1935)
“An Inn in Tokyo” is a stirring account of the hardships faced by Kihachi, an unemployed man wandering Tokyo with his two sons. As they struggle to survive in the midst of the Great Depression, they encounter moments of fleeting joy that stand in stark contrast to their plight. Kihachi befriends Otsune, a woman working at a nearby inn, and her involvement brings a glimmer of hope to the destitute family. Her warmth and kindness offer a reprieve from the relentless challenges they face. The film depicts the day-to-day fight against destitution, while Kihachi’s deep paternal love and sacrifice for his sons become the emotional core of the story. Their interactions reveal the unspoken strength of familial bonds in times of adversity.
Yasujirō Ozu’s direction in “An Inn in Tokyo” is characterized by its realism and compassionate examination of societal underdogs. Ozu’s minimalist style and the restrained emotional tone he employs evoke a profound response without resorting to melodrama, allowing the audience to fully engage with the characters’ resilience in the face of relentless hardship. His observations on the human spirit reflect a society where resilience becomes a form of quiet rebellion against the odds. “An Inn in Tokyo” is thus a testament to the enduring spirit of those on the margins of society. The film is highly regarded for its emotional depth and honesty with which it portrays its characters’ circumstances.
3. A Story of Floating Weeds – Yasujirō Ozu (1934)
“A Story of Floating Weeds” starts off as a traveling theater troupe arrives in a small town, revealing the complex relationships hidden within. The town, with its own tempo and color, becomes a silent observer to the unfolding drama. The troupe’s leader, Kihachi, has a secret son in the village, whose mother he had abandoned years earlier. Tensions rise when Kihachi’s current lover, Sumiko, learns of his past and, out of jealousy, embarks on a destructive path that threatens to unravel the fabric of their lives. The resulting conflict exposes the transient nature of the troupe’s existence and highlights the irony of actors, who portray various lives on stage, confronting the stark realities of their own.
Yasujirō Ozu’s exploration of family and the conflicts that arise from secret pasts are at the forefront of this narrative. The story moves with a deliberate grace, each scene a contemplative beat in the rhythm of the characters’ lives. His trademark low-camera angles and patient pacing allow the story’s emotional layers to unfold naturally, offering a window into the nuanced dynamics of love and responsibility. It is in the silence of the actors’ expressions where Ozu finds the loudest emotional resonance. He crafts a narrative that, while set in the past, speaks to the universal and timeless human condition, making this one of the best silent Japanese films of all time.
2. A Page of Madness – Teinosuke Kinugasa (1926)
“A Page of Madness”, released in the 1920s, is a cinematic exploration of the human psyche, set within the confines of an asylum. The narrative focuses on a janitor working at the institution who conceals his true reason for employment: his wife is a patient within its walls. This personal stake in the facility’s function adds a layer of depth to his interactions with both staff and patients. As he interacts with the various inhabitants, reality becomes indistinguishable from hallucination, with the film portraying a visceral interpretation of mental illness and its impact on relationships. His encounters blur the lines between his duties and his emotional responses, which are skillfully depicted through Kinugasa’s visual artistry.
Teinosuke Kinugasa’s innovative film-making techniques create an intense, almost hypnotic experience, breaking away from conventional narrative structures. The film’s lack of spoken word further plunges the audience into a realm where gestures and expressions are the primary means of communication. “A Page of Madness” is a radical departure from the linear storytelling of its time, instead offering a fragmented and disorienting portrayal of inner turmoil and the human condition. It challenges viewers to interpret the narrative through the emotive power of the visuals alone. The film was considered lost for decades, only to be rediscovered and hailed as a masterpiece of silent film and a precursor to the modern psychological thriller. Its bold representation of mental health issues and the captivating visual language make it a pioneering piece of Japanese cinema.
1. I Was Born, But… – Yasujirō Ozu (1932)
“I Was Born, But…” is a charming yet incisive commentary on the struggles of childhood and the realization of parental fallibility. The story follows the daily lives of two brothers, Ryoichi and Keiji, as they move to a new neighborhood and grapple with local bullies and the hierarchy of school life. Their playful escapades provide some comedic relief to the film, balancing the more sober themes that emerge. Their admiration for their father is challenged when they discover his subservient behavior to his boss, leading to a critical examination of social status and self-worth through the innocent eyes of children.
Another entry from Yasujirō Ozu, this film stands out for its subtlety and emotional depth, managing to be both endearing and reflective. It paints an earnest picture of the family’s economic struggles without overt sentimentality. Ozu’s signature style of static compositions, tatami-mat shots, and a focus on domestic life, perfectly captures the everyday triumphs and tribulations of his characters. His patient observation allows the natural humor and realities of life to surface. The performance of the young actors adds a layer of authenticity to the narrative, highlighting Ozu’s ability to elicit genuine emotion from his audience. “I Was Born, But…” remains a timeless work, shining a light on the quiet observations of life’s ironies and the universal journey of growing up, ensuring its place as one of the best silent Japanese films of all time.
Summary
To summarise, here are the ten best silent Japanese films of all time:
- The Water Magician – Kenji Mizoguchi (1933)
- Passing Fancy – Yasujirō Ozu (1933)
- Tokyo Chorus – Yasujirō Ozu (1931)
- Apart from You – Mikio Naruse (1933)
- Every-Night Dreams – Mikio Naruse (1933)
- Japanese Girls at the Harbor – Hiroshi Shimizu (1933)
- An Inn in Tokyo – Yasujirō Ozu (1935)
- A Story of Floating Weeds – Yasujirō Ozu (1934)
- A Page of Madness – Teinosuke Kinugasa (1926)
- I Was Born, But… – Yasujirō Ozu (1932)
