Ichikawa Raizō VIII facts for kids
Quick facts for kids
Ichikawa Raizō VIII
|
|
|---|---|
Jinan-bō Hangan (1955)
|
|
| Born |
Akio Kamezaki
August 29, 1931 |
| Died | July 17, 1969 (aged 37) |
| Other names | Yoshio Takeuchi, Yoshiya Ōta, Ichikawa Enzō |
| Occupation | film actor, kabuki actor |
| Years active | 1954–1969 |
Ichikawa Raizō VIII (八代目 市川 雷蔵, Hachidaime Ichikawa Raizō, August 29, 1931 – July 17, 1969) was a famous Japanese film and kabuki actor. He was born as Akio Kamezaki (亀崎 章雄, Kamezaki Akio). His name changed a few times during his life.
When he was six months old, he was adopted by Ichikawa Kudanji III (三代目 市川 九團次, Sandaime Ichikawa Kudanji). He started acting in kabuki plays at age 15. Kabuki is a traditional Japanese theater style. Later, he was adopted again by Ichikawa Jūkai III (三代目 市川 壽海, Sandaime Ichikawa Jūkai). This is when he received the famous name Ichikawa Raizō VIII.
In 1954, he began acting in movies. He became very well-known for his role in the film Enjō. For this, he won several important awards. Fans loved him and called him "Rai-sama." He mostly acted in historical dramas called jidaigeki. He is best known for his roles in the Sleepy Eyes of Death (Nemuri Kyoshirō) series and the Ninja (Shinobi no Mono) series. Raizō worked often with director Kenji Misumi.
Sadly, he became ill in 1968 and passed away the next year at age 37.
Contents
Biography
Early Life and Adoptions
Ichikawa Raizō was born in Kyoto on August 29, 1931. His birth name was Akio Kamezaki. When he was six months old, he was adopted by Ichikawa Kudanji III. His name then changed to Yoshio Takeuchi.
Raizō didn't know he was adopted until he was 16 years old. He met his birth mother for the first time when he was 30.
Kabuki Debut
In 1934, Raizō moved from Kyoto to Osaka. His adopted father, Kudanji, didn't train him in kabuki when he was a child. But in 1946, Raizō decided to leave high school to become an actor.
In November 1946, at age 15, Raizō made his kabuki debut. He performed at the Osaka Kabukiza theater using the name Ichikawa Enzō III. His first role was Lady Ohana in the play Nakayamashichiri.
In 1949, Raizō formed a study group with two other young kabuki actors. They called their group the Tsukushikai (つくし会). They trained very hard together. However, Kudanji was not from a kabuki family. This meant Raizō, as Kudanji's son, might not get big roles.
Becoming Ichikawa Raizō VIII
A kabuki director named Tetsuji Takechi saw Raizō's talent. He knew Raizō needed a stronger connection to a kabuki family to succeed. Tetsuji planned for Raizō to be adopted by Ichikawa Jukai III (三代目 市川 壽海, Sandaime Ichikawa Jukai). Jukai was a very respected kabuki actor and leader.
In December 1950, Jukai watched Raizō perform. He was very impressed. Jukai agreed to adopt Raizō. After some discussions, they decided on the name "Ichikawa Raizō." The adoption was made official in April 1951. The ceremony for his new name happened in June of that year.
After this second adoption, Raizō's legal name changed again to Yoshiya Ōta. He chose this name himself. He wanted to be judged by his own actions, not by his family name.
Moving to Film Acting
Even after his second adoption, Raizō was given only small roles in kabuki. So, in 1954, he decided to try acting in movies. He joined the Daiei film studio.
Raizō said he moved to films because it seemed like a good chance to try something new. He left kabuki to focus on movies. He only performed in one more kabuki play after that. He believed that film was better for young actors, and kabuki was better for older ones. To prepare for films, Raizō often watched other actors' performances.
His first movie was The Great White Tiger Platoon in August 1954. In the film world, he was highly respected as the adopted son of Ichikawa Jukai III. Daiei wanted him to become a big star. They gave him leading roles in his fifth and sixth films.
In 1955, Raizō gained a lot of attention for his role as Taira no Kiyomori in Shin Heike Monogatari. Directors noticed his natural acting talent. Film critics praised him for bringing fresh performances to elegant dramas. After this film, Raizō worked very hard, making over 10 movies in one year.
Raizō had weak legs, which made standing and walking difficult. He tried to strengthen them, but it didn't work. He was self-conscious about it. Directors often filmed him in ways that didn't show his legs. Despite this, he became a very composed and powerful actor.
Becoming a Star
In 1958, director Kon Ichikawa chose Raizō for the main role in Enjō. This film was based on a famous novel. Some people at the studio didn't want a new actor with a stammer in such a big role. But Ichikawa insisted that Raizō was the right choice. Raizō delivered an amazing performance. Ichikawa praised his acting, giving it a perfect score.
Many people felt that Raizō's performance in Enjō showed parts of his own childhood experiences. For his work in Enjō, Raizō won major awards, including the Kinema Junpo Award and the Blue Ribbon Award for best actor. This made him a true star.
The Sleepy Eyes of Death series, which started in 1963, became Raizō's most famous work. Playing the main character, Kyoshirō, was a big challenge for him. He felt he didn't get the character right until the fourth film. Another actor, Shintaro Katsu, said Raizō had a special charm as Kyoshirō. He said Raizō showed the character's deep feelings just with his face and how he walked. Raizō starred in 12 films in this popular series.
As Raizō gained more experience, he wanted to be more involved in making films. He thought about directing. He also wanted to start a new theater company. He began setting up "Teatoro Kaburaya" in 1968, but he became ill before it could start.
Final Years and Early Death
In June 1968, while filming, Raizō felt unwell and went to the doctor. He was diagnosed with a serious illness, but he was not told the full details. He had surgery in August and was released from the hospital. However, his family learned that his illness would likely return.
After leaving the hospital, Raizō made two more films. But his body was getting weaker quickly. For some scenes, they had to use a body double for him. In February 1969, he was admitted to the hospital again. He was very weak, but he still hoped to act in a new film. However, another actor was cast instead. Raizō never spoke about work again.
He passed away on July 17, 1969, at the age of 37. His funeral was held in Tokyo. His wife said that Raizō never gave up hope of getting better. She also said he didn't want anyone to see how thin he had become. So, his face was covered after he died.
Raizō's last film was Bakuto Ichidai: Chimatsuri Fudō. He wasn't sure about taking the role, but he was convinced. Two years after his death, Daiei Studios went out of business. Some people felt that Raizō's death was a sign of the studio's coming troubles.
Raizō's Legacy
In 1974, a fan club called “Raizō-kai” was started. It is still active today. Many of Raizō's fans were intelligent and educated women. They admired his acting and his character. The “Ichikawa Raizo Film Festival” shows a selection of his films every year on the anniversary of his death.
In 2000, a Japanese film magazine ranked Raizō as the 6th best male film star of the 20th century. In 2014, he was ranked 3rd on a list of "All Time Best Japanese Film Stars."
The special name Ichikawa Raizō is now looked after by the Ichikawa family. This shows that his legacy continues.
Family
Raizō married Masako Nagata in 1962. She took his name and became Masako Ōta. They had three children together. Raizō wanted his family to stay out of the public eye. His wife kept this wish for 40 years. In 2009, she shared her memories in a special magazine article.
Awards
- January 1959: Kinema Junpō – Best Actor (for Enjō)
- February 1959: Blue Ribbon Award – Best Actor (for Enjō, Benten Kozō)
- September 1959: Cinema Nuovo – Excellence in a Male Role (for Enjō)
- November 1964: Tokyo Citizens’ Film Festival – Best Actor (for Ken)
- February 1967: NHK Film – Excellence in a Male Role, Kinema Junpō – Best Actor (for Hanaoka Seishū no Tsuma)
- November 1968: Tokyo Citizens’ Film Festival – Best Actor (for Hanaoka Seishū no Tsuma)
- November 1969: Tokyo Citizens’ Film Festival – Makino Shōzō Prize
Acclaim
Acting Style
The screenwriter Fuji Yahiro said Raizō was always polite and proper. He believed this showed in his acting. Yahiro said that Raizō was unique among historical drama actors. He truly felt like a noble swordsman.
Directors said Raizō's childhood experiences added depth to his performances. Kazuo Mori, who directed many of Raizō's films, said Raizō put his own hidden pain into his roles. Film critics described his acting as having a "refreshing sorrow." He played many sad roles, but always with a clear and elegant style.
Tadao Satō said Raizō acted with grace in all his roles. He brought sophistication to every film, whether it was a sad or funny part. Film critic Saburō Kawamoto said Raizō had a "sense of purity" in his acting. He seemed to show a glimpse of a faraway, clean place, even in harsh stories.
Some actors who tried to switch from kabuki to film didn't succeed. But Raizō did. One studio president thought this was because Raizō wasn't fully trained in kabuki from a very young age. This allowed him to adapt better to film.
Appearance
Normally, Raizō looked quite ordinary. But when he put on makeup for a film, he completely changed. Many people in the film industry talked about this.
One director said that with makeup, Raizō's usual look would become totally different and beautiful. Another said he would transform into a commanding and handsome actor as soon as filming began. It was very surprising to those who knew him well.
Raizō learned makeup from a famous star. While other actors followed instructions exactly, Raizō made his own changes. He especially changed the makeup around his eyes and eyebrows. He also applied the most important parts of his makeup himself. He didn't let anyone watch him. It's thought that this was part of how he got into character.
A screenwriter said that Raizō usually looked like an ordinary person. But on screen, he became a shining young star, fighting against emptiness and loneliness. Many of his movie posters showed him from behind, turning his head. Directors felt this view best showed his "intriguing emptiness."
Parallels and Comparison to Shintarō Katsu
Raizō and Shintarō Katsu had many things in common. Both were born in 1931. Both came from kabuki backgrounds, though their fathers had different roles in that world. They both joined the Daiei film studio in 1954 at the same time.
Daiei planned for Raizō to become a big star right away. His career started smoothly. Katsu, however, took longer to become famous. He made many films before he had a real hit. It wasn't until the 1960s, with his Akumyō and Zatoichi series, that Katsu became widely known. Katsu himself said that Raizō was already a top star when he was still a newcomer.
Eventually, they were often talked about together. Their names were even combined into "KATSURAISU," which sounded like a food dish. When they appeared on movie posters, they were often shown as opposites. Many people thought they were strong rivals. However, they used friendly nicknames for each other, like "Rai-chan" and "Katchan." This shows they were actually good friends. Raizō was also close friends with Katsu's wife since childhood.
An author noted that both Raizō and Katsu faced similar challenges. They both came from backgrounds where family connections were very important. This shared experience gave them a special drive.
- Raizō often gave many suggestions before filming started. He was nicknamed "Goterai" for this. But once filming began, he never complained and followed directions perfectly.
- Katsu, on the other hand, would say nothing before filming. But once the cameras rolled, he would start making suggestions and changes on the spot. This often caused problems for the film crew.
- Directors said Raizō could work well with different directing styles. His films, even in the same series, felt different depending on the director. Katsu's films, however, always felt like "Katchan's" films, no matter who directed them.
- When comparing their fighting scenes, Raizō's movements were realistic. But Katsu was seen as incredibly quick and agile.
- Raizō was very serious and hardworking. Katsu was described as more desperate in his approach.
- Raizō disliked people who didn't take their jobs seriously. If he disliked someone, he showed it clearly. Katsu, however, usually managed to get along with everyone, even those he didn't like.
Filmography
The filmography of Ichikawa Raizō includes 158 films:
1950s
- 1954: The Great White Tiger Platoon (花の白虎隊, Hana no Byakkotai)
- 1954: Zenigata Heiji: Ghost Lord (銭形平次捕物控 幽霊大名, Zenigata Heiji Torimono-Hikae: Yūrei Daimyō)
- 1954: The Princess Sen (千姫, Sen Hime)
- 1954: Onatsu and Seijuro (歌ごよみ お夏清十郎, Utagoyomi Onatsu Seijūrō)
- 1954: The Young Swordsman (潮来出島 美男剣法, Shiode Kushima Binan Kenpō)
- 1955: The Second Son (次男坊鴉, Jinanbō Garasu)
- 1955: The Magistrate (次男坊判官, Jinanbō Hangan)
- 1955: The Young Lord (鬼斬り若様, Onikiri Wakasama)
- 1955: A Girl Isn't Allowed to Love (薔薇はいくたびか, Bara Ikutabika) a.k.a. The Rose Again
- 1955: The Dancer and Two Warriors (踊り子行状記, Odoriko Gyōjōki)
- 1955: The Magical Warrior (綱渡り見世物侍, Tsuna Watari Misemono Zamurai)
- 1955: Taira Clan Saga a.k.a. The Taira Clan, lit. "New Tale of the Heike" (新・平家物語, Shin Heike Monogatari)
- 1955: The Iroha Elegy (いろは囃子, Iroha Bayashi)
- 1955: Thief and Magistrate (怪盗と判官, Kaitō to Hangan)
- 1956: Migratory Birds of the Flowers (花の渡り鳥, Hana no Wataridori)
- 1956: Matashirō Fighting Journey (又四郎喧嘩旅, Matashirō Kenka-tabi)
- 1956: Renyasai Yagyū Hidden Story (柳生連也斎 秘伝月影抄, Yagyū renyasai: hidentsuki kageshō)
- 1956: Asatarō (浅太郎鴉, Asatarō garasu)
- 1956: Fighting Birds (喧嘩鴛鴦, Kenka Oshidori)
- 1956: Flowery Brothers (花の兄弟, Hana no Kyōdai)
- 1956: Flowery Hood 1 (花頭巾, Hana Zukin)
- 1956: Zenigata Heiji: Human-skin Spider (銭形平次捕物控 人肌蜘蛛, Zenigata Heiji Torimono no Hikae: Hitohada Gumo)
- 1956: Travel Chronicles of Yaji and Kita (弥次喜多道中記, Yaji-Kita Dōchū-ki)
- 1956: Hanpeita Tsukigata (月形半平太 花の巻 嵐の巻, Tsukigata Hanpeita: Hana no maki; Arashi no maki)
- 1956: Flowery Hood 2 (続花頭巾, Zoku Hana Zukin, a.k.a. Hana Zukin II)
- 1956: Fighting Fire Fighter (あばれ鳶, Abare Tobi)
- 1956: Gonpachi (編笠権八, Amigasa Gonpachi)
- 1957: An Osaka Story (大阪物語, Ōsaka monogatari)
- 1957: Love of a Princess (朱雀門, Suzakumon)
- 1957: Floating Vessel (Ukifune) a.k.a. "Tale of Genji Ukifune" (源氏物語 浮舟, Genji Monogatari Ukifune)
- 1957: Fighting Letter for 29 People (二十九人の喧嘩状, Nijūkyū-nin no Kenka-jō)
- 1957: Yatarō’s Travel Hat (弥太郎笠, Yatarō gasa)
- 1957: Tengu Mangorō (万五郎天狗, Mangorō Tengu)
- 1957: Inazuma Kaidō (稲妻街道, Inazuma Kaidō)
- 1957: A Fantastic Tale of Naruto (鳴門秘帖, Naruto Hichō)
- 1957: Demonfire Palanquin (鬼火駕籠, Onibi Kago)
- 1957: Freelance Samurai (桃太郎侍, Momotarō zamurai)
- 1958: Princess Tsuki (月姫系図, Tsukihime keizu)
- 1958: Magnificent Five (遊侠五人男, Yūkyō Gonin Otoko)
- 1958: Hanatarō (花太郎呪文, Hanatarō Jumon)
- 1958: The Loyal 47 Ronin (忠臣蔵, Chūshingura)
- 1958: Tabi wa Kimagure Kaze Makase (旅は気まぐれ風まかせ)
- 1958: Inochi wo Kakeru Otoko (命を賭ける男)
- 1958: The 7th Secret Courier for Edo (七番目の密使, Nanabanme no Misshi)
- 1958: Megitsune Buro (女狐風呂)
- 1958: The Swishing Sword a.k.a. Human Skin Peacock (人肌孔雀, Hitohada Kujaku)
- 1958: Conflagration or Flame of Torment or The Temple of the Golden Pavilion (炎上, Enjō)
- 1958: A Man of Many Miracles (日蓮と蒙古大襲来, Nichiren to mōko daishūrai, lit. "Nichiren and the Great Mongol Invasion")
- 1958: Nuregami kenpō (濡れ髪剣法)
- 1958: Ambush at Iga Pass (伊賀の水月, Iga no suigetsu)
- 1958: Benten Kozō (弁天小僧, Benten Kozō)
- 1958: Bakeneko goyō da (化け猫御用だ)
- 1959: Smooth Tree Peony (人肌牡丹, Hitohada botan)
- 1959: Yūtarō kōdan (遊太郎巷談)
- 1959: Her Highness Princess Snake (蛇姫様, Hebi-himesama)
- 1959: Lord Nobunaga's Early Days (若き日の信長, Wakaki hi no Nobunaga)
- 1959: Ojō kichisa (お嬢吉三)
- 1959: The Gaijin (山田長政 王者の剣, Yamada Nagamasa Ōja no ken)
- 1959: The One-thousand Crane Secret File (千羽鶴秘帖, Dewa tsuru hichō)
- 1959: Jirō Nagafuji (次郎長富士)
- 1959: Attack of Jean Arima (ジャン有馬の襲撃, Jan Arima no shūgeki)
- 1959: Wet-Hair Sando Hat (濡れ髪三度笠, Nuregami sandogasa)
- 1959: Stop the Old Fox (かげろう絵図, Kagerō ezu)
- 1959: Samurai Vendetta (薄桜記, Hakuōki)
- 1959: Ukare sandogasa (浮かれ三度笠)
- 1959: Enchanted Princess 初春狸御殿 (Hatsuharu tanuki goten)
1960s
- 1960: Bonchi
- 1960: The Demon of Mount Oe
- 1960: Jirocho the Chivalrous
- 1960: Satan's Sword (Daibosatsu Tōge)
- 1960: Satan's Sword II (Daibosatsu Tōge no Make)
- 1961: Satan's Sword III (Daibosatsu Tōge Kanketsu-Hen)
- 1961: The Gambler's Code (Kutsukake Tokijiro)
- 1961: A Lustful Man
- 1962: Ninja 1 (Shinobi no mono)
- 1962: The Great Wall (Shin shikōtei)
- 1962: Fencing Master (Tateshi Danpei)
- 1962: 170 Leagues to Edo (Edo e hyakku-nana-jū ri)
- 1962: Destiny's Son (Kiru)
- 1962: Nakayama shichiri
- 1962: The Outcast (Hakai)
- 1962: Onnakeizu
- 1963–1969: Sleepy Eyes of Death film series include 12 films starring Raizo Ichikawa
- 1963 Enter Kyōshirō Nemuri the Swordman
- 1964: Nemuri Kyoshiro 2: Shōbu
- 1964: Nemuri Kyoshiro 3: Engetsu Sapporo
- 1969: Nemuri Kyōshirō Akujogari
- 1963: Yoso
- 1963: Ninja 3 (Shin Shinobi no Mono)
- 1963: Ninja 2 (Zoku shinobi no mono)
- 1963: Tenya wanya jirōchō dōchō
- 1963: Teuchi
- 1963: Daisanno kagemusha
- 1963: An Actor's Revenge (Yukinojo henge)
- 1964: Ninja 4 (Shinobi no Mono: Kirigakure Saizo)
- 1964: Ninja 5 (Shinobi no Mono: Zoku Kirigakure Saizo)
- 1964: The Sword (Ken)
- 1965: Ken Ki (Sword Devil)
- 1966: Dai Satsujin Orochi - The Betrayal
- 1967: A Certain Killer
- 1967: The Doctor's Wife
See also
In Spanish: Ichikawa Raizō VIII para niños
