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Toshirô Mifune
Birthday:
1 April 1920
Birth Name:
Sanchuan Minlang
Height:
174 cm
Biography
[on how he went from aspiring photographer to actor] After the War, I looked up my friend and asked if I could be a cameraman too. That's how I got to Toho. But Toho was on strike for most of three years, and lots of the acting stars went elsewhere. My friends submitted my resume and my photograph, unbeknownst to me.
[on how he went from aspiring photographer to actor] After the War, I looked up my friend and asked if I could be a cameraman too. That's how I got to Toho. But Toho was on strike for most of three years, and lots of the acting stars went elsewhere. My friends submitted my resume and my photograph, unbeknownst to me.
Rashômon (1950) was a failure in Japan. We had no idea that it had been submitted to Venice. Kurosawa didn't go to the festival, neither did I. And hardly anyone knew it won the grand prize. There was a small article in a Japanese newspaper, that was all.
Rashômon (1950) was a failure in Japan. We had no idea that it had been submitted to Venice. Kurosawa didn't go to the festival, neither did I. And hardly anyone knew it won the grand prize. There was a small article in a Japanese newspaper, that was all.
No matter how much I drank the night before. I never once was late on his films. But with Kurosawa, sometimes people are waiting, and he never shows up. The people go to his house, and he says, "I'm sorry. I don't feel well today.".
No matter how much I drank the night before. I never once was late on his films. But with Kurosawa, sometimes people are waiting, and he never shows up. The people go to his house, and he says, "I'm sorry. I don't feel well today.".
[on Kenji Mizoguchi] He was a rather complex person and a perfectionist. A scene with a famous actress wasn't going so well, so Mizoguchi dismissed everyone for the day so they could quietly talk. He was a stickler for props. If an object was to be used in the movie for tea time, he might look at it and say, "This is a reproduction!" He would close down the ...
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[on Kenji Mizoguchi] He was a rather complex person and a perfectionist. A scene with a famous actress wasn't going so well, so Mizoguchi dismissed everyone for the day so they could quietly talk. He was a stickler for props. If an object was to be used in the movie for tea time, he might look at it and say, "This is a reproduction!" He would close down the set and order the prop man, "Get the original in Kyoto.".
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[on the secret of his well-being] I still ride horses and do a lot of laughing. But I was born this way. I can't help it. When I was young, I played old men's roles. But now I'm a little boy!
[on the secret of his well-being] I still ride horses and do a lot of laughing. But I was born this way. I can't help it. When I was young, I played old men's roles. But now I'm a little boy!
That the Japanese film is known at all in the West is due mainly to the pictures of Akira Kurosawa. That I am known both here and abroad is also mainly due to him. He taught me practically everything I know, and it was he who first introduced me to myself as an actor. Kurosawa has this quality, this ability to bring things out of you that you never knew were...
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That the Japanese film is known at all in the West is due mainly to the pictures of Akira Kurosawa. That I am known both here and abroad is also mainly due to him. He taught me practically everything I know, and it was he who first introduced me to myself as an actor. Kurosawa has this quality, this ability to bring things out of you that you never knew were there. It is enormously difficult work, but each picture with him is a revelation. When you see his films, you find them full realizations of ideas, of emotions, of a philosophy which surprises with its strength, even shocks with its power. You had not expected to be so moved, to find within your own self this depth of understanding.
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[on the xenophobia displayed by his fellow troops in the Japanese army during World War II] There I was, a naive man of 20. The other bewildered young recruits were stirred up to a blood lust. What a nightmare!
[on the xenophobia displayed by his fellow troops in the Japanese army during World War II] There I was, a naive man of 20. The other bewildered young recruits were stirred up to a blood lust. What a nightmare!
I'm not always great in pictures, but I'm always true to the Japanese spirit.
I'm not always great in pictures, but I'm always true to the Japanese spirit.
[on speaking English] I can't speak English, Instead memorize English lines by the sounds of the words.
[on speaking English] I can't speak English, Instead memorize English lines by the sounds of the words.
[on Akira Kurosawa] I am proud of nothing I have done other than with him.
[on Akira Kurosawa] I am proud of nothing I have done other than with him.
Toshirô Mifune
Toshiro Mifune achieved more worldwide fame than any other Japanese actor of his century. He was born in Tsingtao, China, to Japanese parents and grew up in Dalian. He did not set foot in Japan until he was 21. His father was an importer and a commercial photographer, and young Toshiro worked in his father's studio for a time after graduating from Dalian Middle School. He was automatically drafted into the Japanese army when he turned 20, and enlisted in the Air Force where he was attached to the Aerial Photography Unit for the duration of the World War II. In 1947 he took a test for Kajirô Yamamoto, who recommended him to director Senkichi Taniguchi, thus leading to Mifune's first film role in Shin baka jidai: kôhen (1947). Mifune then met and bonded with director Akira Kurosawa, and the two joined to become the most prominent actor-director pairing in all Japanese cinema. Beginning with Yoidore tenshi (1948), Mifune appeared in 16 of Kurosawa's films, most of which have become world-renowned classics. In Kurosawa's pictures, especially Rashômon (1950), Mifune would become the most famous Japanese actor in the world. A dynamic and ferocious actor, he excelled in action roles, but also had the depth to plumb intricate and subtle dramatic parts. A personal rift during the filming of Akahige (1965) ended the Mifune-Kurosawa collaboration, but Mifune continued to perform leading roles in major films both in Japan and in foreign countries. He was twice named Best Actor at the Venice Film Festival (for Yôjinbô (1961) and Akahige (1965)). In 1963 he formed his own production company, directing one film and producing several others. In his later years he gained new fame in the title role of the American TV miniseries Shogun (1980), and appeared infrequently in cameo roles after that. His last years were plagued with Alzheimer's Syndrome and he died of organ failure in 1997, a few months before the death of the director with whose name he will forever be linked, Akira Kurosawa.
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