Japanese cinema boasts a pantheon of captivating actresses. While some haven't achieved the global recognition of their Western counterparts, a select few have secured international acclaim. Actresses like Setsuko Hara, Kinuyo Tanaka, and Hideko Takamine, muses for the legendary directors Yasujiro Ozu, Kenji Mizoguchi, and Mikio Naruse respectively, stand as towering figures in film history.
However, unlike Hara and Tanaka whose films grace retrospectives and streaming services, Hideko Takamine remains a relatively obscure figure in the West despite a prolific career spanning over 180 films. This obscurity is further compounded by a cruel twist of fate. March 27th marks the 100th anniversary of Takamine's birth, yet the Criterion Channel, renowned for its vast Japanese film library, overlooks this occasion.
Undeterred cinephiles can still seek out Takamine's brilliance on disc and streaming platforms. Her fame, beyond her association with the masterful Mikio Naruse, rests on two defining mid-1950s films directed by Keisuke Kinoshita.
"Twenty-Four Eyes" (1954) showcases Takamine's depth as a devoted rural schoolteacher. This poignant tale, still revered in Japan, follows Miss Oishi's life and the lives of her students as they navigate the tumultuous years leading up to and following World War II. Takamine's performance, a masterclass in emotional restraint, transcends cultural boundaries and is guaranteed to move audiences to tears.
In stark contrast, "Carmen Comes Home" (1951), Japan's first color feature film, presents Takamine's comedic versatility. Here, she portrays a flamboyant stripper returning to her mountain village, sparking a comical clash between urban and rural sensibilities. The film's satire on post-war materialism further underscores Takamine's impressive range.
Takamine's most profound collaboration was undoubtedly with director Mikio Naruse. They worked together on 17 films from the 1940s to the 1960s, each exploring the struggles of diverse Japanese women.
Currently available and highly recommended is "When a Woman Ascends the Stairs" (1960). Takamine portrays a middle-aged Tokyo bar hostess grappling with professional and personal challenges. Her portrayal, imbued with strength and dignity, is a testament to her undeniable talent.
"Yearning" (1964) delves into the tenacious spirit of a widowed woman battling to keep her family grocery afloat amidst a changing economic landscape. Here, Takamine confronts limitations placed upon her as a woman and the complexities of family dynamics.
Takamine's filmography extends beyond collaborations with iconic directors. "Stakeout" (1958), a police procedural by Yoshitaro Nomura, showcases her ability to captivate audiences with minimal screen time. Her portrayal of a once reckless woman transformed into a dutiful housewife keeps viewers guessing.
In the Meiji-period drama "The Wild Geese" (1953), Takamine delivers a heart-wrenching performance as Otama, a woman manipulated into becoming a mistress. With subtle yet powerful nuances, she portrays the character's gradual awakening to the depth of her entrapment.
Sadly, the vast majority of Hideko Takamine's films remain inaccessible to Western audiences. Even the acclaimed Criterion Channel offers only a limited selection. This begs the question – how many more captivating performances are hidden from our view?
Hideko Takamine's centenary is a bittersweet occasion. It celebrates a life dedicated to her craft while highlighting the vast trove of Japanese cinema yet to be discovered. Let us hope that in the future, more of her films will be brought to light, allowing audiences worldwide to experience the unparalleled brilliance of this enigmatic and captivating actress.
