In the 1930s, Japanese cinema experienced a transformative era, a time when filmmakers began to blend traditional storytelling with emerging cinematic techniques. This decade witnessed the rise of directors who would later be revered as masters of the craft, creating narratives that ranged from intimate family dramas to compelling historical epics. The era’s films often reflected the social and economic upheavals of the time, offering audiences a window into the complexities of Japanese life as it balanced between tradition and modernity. Each film on this list stands as a testament to the creativity of the filmmakers of the time. Without further ado, let’s take a look at the ten best Japanese films of the 30s.
10. Osaka Elegy – Kenji Mizoguchi (1936)
“Osaka Elegy” stands as a pioneering work in Japanese cinema, directed by Kenji Mizoguchi. The film tells the compelling story of Ayako, a telephone operator who becomes entangled in a morally challenging situation to support her financially struggling family. Caught in a web of difficult choices, she is forced to confront the harsh realities of love and sacrifice in a rapidly modernizing Japan. The narrative follows her journey as she navigates through a maze of complex relationships and societal pressures, each decision more taxing than the last.
Kenji Mizoguchi’s direction brings a level of sensitivity to the film, capturing the essence of individual struggle against the constraints of society. The cinematography, characterized by its fluid camera movements, offers a captivating visual experience that enhances the emotional depth of the story, bringing a poetic quality to Ayako’s life journey. “Osaka Elegy” is renowned for its portrayal of women’s issues during the 1930s, a recurring theme in Mizoguchi’s work, presenting a powerful portrayal of a woman’s resilience in the face of overwhelming odds.
9. An Inn in Tokyo – Yasujirō Ozu (1935)
Yasujirō Ozu’s “An Inn in Tokyo” showcases his mastery in capturing the subtleties of human emotions and interactions, exhibiting a unique skill for turning mundane moments into scenes brimming with emotional depth. The film follows the story of a father and his two sons, wandering the outskirts of Tokyo, struggling with poverty. As they traverse the industrial landscape, their plight reflects the broader societal struggles of the era. Their journey leads them to an inn, where they encounter a mother and her daughter facing similar hardships. The bond that forms between these two families highlights themes of empathy and resilience in the face of adversity, forging an unspoken alliance in their shared struggle.
The film’s narrative shows Ozu’s signature style, characterized by its minimalist approach and static camera work, which invites the viewer to engage deeply with the characters’ experiences. The performances are understated yet powerful, conveying a profound sense of realism, as if peeling back layers to reveal the raw humanity of its characters. “An Inn in Tokyo” is often regarded as a precursor to Ozu’s later works, showcasing his ability to portray the everyday life of ordinary people with a rare depth of understanding, making it one of the best Japanese films of the 30s. It remains a significant piece in the history of Japanese cinema, offering a unique glimpse into the societal challenges of its time.
8. Sisters of the Gion – Kenji Mizoguchi (1936)
“Sisters of the Gion”, directed by Kenji Mizoguchi, presents a story full of emotional depth and social commentary, focused on the lives of two geisha sisters in Kyoto’s Gion district. The elder sister, Umekichi, adheres to traditional values and customs, embodying the grace expected of a geisha, while her younger sister, Omocha, questions and challenges the established roles placed upon women in their profession. Their contrasting perspectives on life and love set the stage for an exploration of women’s autonomy and the societal pressures they face. The film portrays the complexities inherent in the pursuit of personal ambitions within the constraints of a rigid social system.
Kenji Mizoguchi’s direction in “Sisters of the Gion” stands out due to his attention to the emotional states of his characters, crafting each scene with a delicate balance of realism and dramatic flair. The film’s visual storytelling, coupled with powerful performances, brings to life the inner world of the sisters, highlighting their struggles and resilience. Mizoguchi’s work here is notable for its progressive view on gender roles, especially for its time, challenging the viewer to reconsider the societal norms of the period. “Sisters of the Gion” is celebrated for its compelling narrative and critical examination of the roles women play in a changing society.
7. A Story of Floating Weeds – Yasujirō Ozu (1934)
“A Story of Floating Weeds”, directed by Yasujirō Ozu, is a captivating film that delves into the life of a traveling kabuki troupe. The plot centers around the troupe’s master, who revisits a small town to reconnect with a former lover and their son, unveiling a past shrouded in secrecy and unspoken truths. The ensuing drama explores themes of family, identity, and the clash between traditional and modern values, creating a narrative that reflects the evolving cultural landscape of Japan. Ozu’s storytelling unravels the complexities of human relationships, set against the transient lifestyle of the kabuki performers.
Yasujirō Ozu’s distinctive cinematic style is evident in “A Story of Floating Weeds,” with its understated yet powerful narrative, filling the film with a sense of quiet introspection. The film’s composition, characterized by Ozu’s unique use of camera placement and editing, creates a deeply immersive experience, drawing the viewer into the intimate world of its characters. The performances bring authenticity and depth to the characters, each actor masterfully embodying their role, adding further layers to the narrative. This film stands as a testament to Ozu’s ability to convey profound human emotions and relationships, making “A Story of Floating Weeds” one of the best Japanese films of the 30s.
6. Humanity and Paper Balloons – Sadao Yamanaka (1937)
“Humanity and Paper Balloons,” directed by Sadao Yamanaka, is set in a shantytown of Edo-period Japan and tells the story of various impoverished locals. Central to the plot is Unno, a down-and-out samurai whose fallen status mirrors the socio-economic shifts of the era, and his neighbor Shinza, a barber who resorts to gambling to make ends meet. The film tells a tale that explores themes of poverty, desperation, and the human spirit in the face of adversity, portraying the harsh realities faced by those on the fringes of society. The interaction among the town’s residents offers a window into the lives of the lower class in feudal Japan.
Yamanaka’s film stands out for its empathetic portrayal of its characters, capturing the essence of their daily struggles with a delicate touch. The cinematography and set design effectively convey the stark reality of life in the slums, adding depth to the narrative and immersing the audience in the experiences of the characters. “Humanity and Paper Balloons” is praised for its realistic portrayal of Edo-period Japan, a departure from the period’s usual romanticization in cinema, offering an unfiltered look at the lives of common people. The film stands as a critical piece of Japanese cinema, offering both a historical perspective and a timeless commentary on the human condition.
5. Mr. Thank You – Hiroshi Shimizu (1936)
Hiroshi Shimizu’s “Mr. Thank You” chronicles the journey of a kind-hearted bus driver, known as “Mr. Thank You” due to his habit of thanking people who make way for his bus. The film takes place over the course of a single bus trip through the Izu Peninsula, capturing the interactions between the driver and his diverse passengers, each with their own stories and backgrounds. These interactions reveal various facets of Japanese society and human nature, as the passengers’ personal tales intertwine with the scenic journey, offering glimpses into their lives and the changing social landscape of Japan. It is a study in character and social dynamics, set against the picturesque and tranquil backdrop of rural Japan.
Shimizu’s direction in “Mr. Thank You” is notable for its humanistic approach and subtle storytelling, bringing together the narratives of the characters with the natural beauty of their surroundings. The film’s use of location shooting gives it a sense of authenticity and provides a powerful portrayal of the Japanese countryside. The characters are portrayed with warmth and depth, making their stories resonate with the audience, each performance filled with a sense of realism that draws the viewer into their world. “Mr. Thank You” is celebrated for its simplicity and its compassionate portrayal of everyday people, ensuring its place as one of the best Japanese films of the 30s.
4. The Only Son – Yasujirō Ozu (1936)
In “The Only Son,” directed by Yasujirō Ozu, the plot focuses on the relationship between a mother and her son, set against the challenges of pre-war Japan. The mother sacrifices everything to provide her son with a good education, fueled by her unwavering belief in the power of learning, hoping he will have a better life. However, when she visits him years later in Tokyo, she discovers that his life has not turned out as expected, unveiling a contrast between her dreams and the stark realities of urban life. The film portrays the complexities of parental expectations, the weight of personal sacrifice, and the realities of economic hardship.
This film was Ozu’s first attempt at sound cinema, yet it retains his characteristic minimalist approach and attention to the subtleties of family dynamics. The director’s style, with its static compositions and contemplative pacing, perfectly captures the emotional nuances of the mother-son relationship, turning everyday moments into profound reflections on life. “The Only Son” is notable for its realistic portrayal of societal challenges and personal aspirations, offering a thoughtful examination of the human condition. The film remains a significant work in Ozu’s filmography, showcasing his ability to depict ordinary lives with extraordinary depth and sensitivity.
3. Tange Sazen and the Pot Worth a Million Ryo – Sadao Yamanaka (1935)
“Tange Sazen and the Pot Worth a Million Ryo,” directed by Sadao Yamanaka, is a blend of humor and drama set in the Edo period. The story centers on Tange Sazen, a one-eyed, one-armed swordsman who becomes involved in a hunt for a valuable pot that contains a hidden treasure map, leading to a series of unexpected and often amusing events. Unbeknownst to him, the pot is in the possession of a young boy and his sister, who are unaware of its value, setting the stage for a delightful contrast between innocence and adventure. The film is a lively and entertaining adventure that explores themes of greed, innocence, and the unintended consequences of one’s actions.
Yamanaka’s direction in this film is notable for its skillful balance of comedic elements with a compelling narrative, creating an engaging experience that is both entertaining and thought-provoking. The character of Tange Sazen has become an iconic figure in Japanese cinema, endearing himself to audiences with his unique blend of heroism and wit. The film’s storytelling is enhanced by its vibrant characters and dynamic pacing, making it a standout example of Yamanaka’s work. “Tange Sazen and the Pot Worth a Million Ryo” is celebrated for its engaging plot and memorable characters, securing its place as one of the best Japanese films of the 30s.
2. I Was Born, But… – Yasujirō Ozu (1932)
Yasujirō Ozu’s “I Was Born, But…” is a silent comedy-drama that captures the adventures of two brothers, Keiji and Ryoichi, as they adjust to life in a new neighborhood after their family moves house. The film humorously portrays the boys’ challenges in dealing with schoolyard bullies, forming new friendships, and understanding the complex world of adults, all while navigating the often unpredictable landscape of childhood. As they navigate these experiences, the film explores themes of childhood, authority, and social hierarchy through the innocent eyes of the young protagonists, offering a poignant and often humorous look at the world from a child’s perspective.
Ozu’s film is celebrated for its blend of humor and social commentary, a combination that sets it apart in his filmography, creating a multi-layered narrative that resonates with viewers of all ages. The director’s use of static shots and minimalist style captures the everyday life of the boys, inviting the audience into their world with a sense of intimacy and realism. “I Was Born, But…” is not only a delightful portrayal of childhood but also offers a subtle critique of societal structures and adult hypocrisy, making it a significant work of early Japanese cinema, and a testament to Ozu’s timeless appeal as a filmmaker.
1. The Story of the Last Chrysanthemum – Kenji Mizoguchi (1939)
“The Story of the Last Chrysanthemum,” directed by Kenji Mizoguchi, is set in the late 19th century and follows the life of Kikunosuke, a young actor from a prestigious kabuki family, who is struggling with the burden of legacy and personal desire. Struggling to live up to his family’s expectations and his own aspirations, Kikunosuke finds support in Otoku, a servant girl who encourages him to pursue his artistic ambitions. Their relationship defies social conventions, leading to various personal and professional challenges, creating a narrative that is as much about their forbidden love as it is about the constraints imposed by society. The film beautifully explores themes of love, sacrifice, and the pursuit of artistry against the rigidity of traditional Japanese society.
Mizoguchi’s masterful storytelling in this film is characterized by its emotional depth and the director’s signature long takes and tracking shots, which elegantly capture the period’s aesthetics. These techniques create a visually stunning and immersive experience, drawing the viewer into the intimate world of its characters. “The Story of the Last Chrysanthemum” is renowned for its exploration of gender roles and societal constraints, as well as its profound examination of artistic struggle, making it one of the best Japanese films of the 30s. The film stands as a landmark in Mizoguchi’s career and a masterpiece of Japanese cinema, offering a moving portrayal of the human spirit, solidifying its status as an enduring classic.
Summary
To summarise, here are the ten best Japanese films of the 30s:
- Osaka Elegy – Kenji Mizoguchi (1936)
- An Inn in Tokyo – Yasujirō Ozu (1935)
- Sisters of the Gion – Kenji Mizoguchi (1936)
- A Story of Floating Weeds – Yasujirō Ozu (1934)
- Humanity and Paper Balloons – Sadao Yamanaka (1937)
- Mr. Thank You – Hiroshi Shimizu (1936)
- The Only Son – Yasujirō Ozu (1936)
- Tange Sazen and the Pot Worth a Million Ryo – Sadao Yamanaka (1935)
- I Was Born, But… – Yasujirō Ozu (1932)
- The Story of the Last Chrysanthemum – Kenji Mizoguchi (1939)
