Setsuko Hara

Setsuko Hara
Setsuko Hara in Late Spring in 1949
Born	Aida Masae (会田 昌江) (1920-06-17)17 June 1920 Yokohama, Kanagawa, Japan
Died	5 September 2015(2015-09-05) (aged 95) Kanagawa, Japan
Nationality	Japanese
Occupation	Actress
Years active	1935–1963
Notable work	No Regrets for Our Youth Late Spring Early Summer Tokyo Story

Kiyo Kuroda (left) and Setsuko Hara (right) in Atami, Shizuoka in 1936 (the July 1936 issue of Nikkatsu Gahō)

in Atarashiki Tsuchi (1937)

in Late Spring (1949)

in Tokyo Story (1953)

Hara on location of Tokyo Story (1953), director Yasujirō Ozu (far right), on the grounds of Jōdo-ji in Onomichi, Hiroshima in August 1953

Setsuko Hara (原 節子, Hara Setsuko, 17 June 1920 – 5 September 2015) was a Japanese actress. Though best known for her performances in Yasujirō Ozu's films Late Spring (1949) and Tokyo Story (1953),^[1] she had already appeared in 67 films before working with Ozu.^[2]

Early career[]

Setsuko Hara was born Masae Aida (会田 昌江, Aida Masae) in what is now Hodogaya-ku, Yokohama in a family with three sons and five daughters. Her elder sister was married to film director Hisatora Kumagai, which gave her an entry into the world of the cinema: he encouraged her to drop out of school, which she did,^[3] and then she went to work for Nikkatsu Studios in Tamagawa, outside Tokyo, in 1935. She debuted at the age of 15 with a stage name that the studio gave her^[3] in Do Not Hesitate Young Folks! (ためらふ勿れ若人よ, tamerau nakare wakōdo yo).^[4][5]

She came to prominence as an actress in the 1937 German-Japanese co-production Die Tochter des Samurai (The Daughter of the Samurai), known in Japan as Atarashiki Tsuchi (The New Earth), directed by Arnold Fanck and Mansaku Itami.^[6] In the film, Hara plays a woman who unsuccessfully attempts to immolate herself in a volcano. She continued to portray tragic heroines in many of her films until the end of World War II,^[7] like The Suicide Troops of the Watchtower (1942) and The Green Mountains (1949), directed by Tadashi Imai, and Toward the Decisive Battle in the Sky, directed by Kunio Watanabe.^[3]

Postwar career[]

Hara remained in Japan after 1945 and continued making films. She starred in Akira Kurosawa’s first postwar film, No Regrets for Our Youth (1946).^[3] She also worked with director Kimisaburo Yoshimura in A Ball at the Anjo House (1947) and Keisuke Kinoshita in Here’s to the Girls (1949). In all of these films, she was portrayed as the “new” Japanese woman, looking forward to a bright future. However, in most of her movies, especially those directed by Yasujirō Ozu and Mikio Naruse she plays the typical Japanese woman, as either daughter, wife, or mother.^[1]

Hara’s first film of six with Yasujirō Ozu was Late Spring (1949), and their collaboration would last for the next twelve years. In Late Spring, she plays Noriko, a devoted daughter who prefers to stay at home and take care of her father than to marry, despite the urgings of her family members. In Early Summer (1951), she played an unrelated character also called Noriko, who wanted to get married, and finds the courage to do so without her family’s approval. This was followed by Tokyo Story (1953), perhaps her and Ozu's best-known film, in which she played a widow, also called Noriko whose husband was killed in the war. Her devotion to her deceased husband worries her in-laws, who insist that she should move on and remarry.^[6]

Hara's last major role was Riku, the wife of Ōishi Yoshio, in the film Chushingura (1962).

Later years[]

Hara, who never married, is nicknamed "the Eternal Virgin" in Japan^[1] and is a symbol of the golden era of Japanese cinema of the 1950s.^[8] She quit acting in 1963 (the year Ozu died), and subsequently led a secluded life in Kamakura, where many of her films with Ozu were made, refusing all interviews and photographs.^[1][9] For years, people would speculate about her reasons for leaving the public eye. Hara herself confessed during her final press conference that she never really enjoyed acting and was only using it as a means to support her family; however, many people continued to speculate over her possible romantic involvement with Ozu, or the possibility of failing eyesight.^[1]

After seeing a Setsuko Hara film, the novelist Shūsaku Endō wrote: "We would sigh or let out a great breath from the depths of our hearts, for what we felt was precisely this: Can it be possible that there is such a woman in this world?"^[10]

After more than half a century of seclusion, Hara died of pneumonia at a hospital in Kanagawa prefecture, on 5 September 2015, at the age of 95. Her death was not reported by the media until November 25 of that year due to her family only approaching them later (presumably for privacy).^[11][12][3] The anime film Millennium Actress (2001), directed by Satoshi Kon, is partly based on her life, although it was produced and released more than a decade prior to her death.^[1]

Selected filmography[]

References[]

• Karlsson, Mats. 'Setsuko Hara: Japan's Eternal Virgin and Reluctant Star of the Silver Screen.' In Stars in World Cinema: Screen Icons and Star Systems Across Cultures, ed. Andrea Bandhauer and Michelle Royer, pp. 51-63. I.B. Tauris. (2015) ISBN 1780769776
• Weston, Mark. Giants of Japan: The Lives of Japan's Greatest Men and Women. Kodansha International. (2002) ISBN 1568363249
• Yoshimoto, Mitsuhiro. Kurosawa: Film Studies and Japanese Cinema. Duke University Press. (2000) ISBN 0822325195

Notes[]

External links[]

Wikimedia Commons has media related to Setsuko Hara.

• Setsuko Hara at IMDb
• Setsuko Hara at AllMovie
• JMDb Profile (in Japanese)
• Setsuko Hara at Ozu-san.com