Films such as Director Akira Kurosawa’s "Seven Samurai" (1954) and "The Hidden Fortress" (1958) are called ‘jidaigeki’ in Japan. “Introduction Series” presents articles to acquaint non-Japanese readers with movie genres that uniquely evolved in Japan. This article focuses on period dramas called "jidaigeki".

"jidaigeki" are films set in pre-modern Japan up to around the latter half of the 1870s that depict human dramas and combat between samurai. The genre has a long history. Including the films that precede the birth of the name, ‘jidaigeki’, they can be traced back to the late 19th century when movies first began being screened in Japan. From the mid-1950s when "Seven Samurai" and "The Hidden Fortress" were created, to the early 1960s, around 170 "jidaigeki" films were made each year, which accounted for approximately half the annual box-office revenue. Thereafter, "jidaigeki" films with a variety of forms and content continued to be released as the main medium switched from movies to television.

Our guide is Taichi Kasuga, a researcher with a rare expertise in "jidaigeki". He explains how to enjoy these "jidaigeki" and invites us into the innermost world of the Japanese "jidaigeki" genre, from movies that captivate with thrilling action, to modern themes such as the difficulties of women’s lives and boy’s love (BL).

Interviewer/Author: Tomoko Hasegawa　Photographer: Keita Tamamura　Editor: Satomi Hara (CINRA, Inc.)

The key to "jidaigeki" is not knowing if it’s fact or fiction

── You refer to Japanese "jidaigeki" in your books as a “medium of expression in entertainment that is globally understood.” Why do you think that?

Kasuga: First and foremost is that truly high-level entertainment works regardless of age, sex, or nationality. Plus, I believe that "jidaigeki" has a foundation that facilitates the creation of entertainment that fully rises to that level. The important elements in entertainment such as action, suspense, romance, and working in a harsh natural environment are easy to depict in "jidaigeki".

Kasuga: Basically, movie entertainment is fiction. Nevertheless, if the audience thinks, “This is a fiction,” then they become disengaged. On that point, the key to "jidaigeki" is not knowing if it’s fact or fiction.

"jidaigeki" present the distant past—that is, a world that no one has actually seen. If a movie had a car chase or gun fight set in Japan, you’d think that kind of thing isn’t likely to happen, but "jidaigeki" can have action with horses and swords, and even if that were fiction, you’d believe it could happen.

That’s exactly why I believe "jidaigeki" is suited to creating large-scale entertainment films in Japan.

── Overseas, a wide-range of people enjoy "jidaigeki" as costume dramas, and often movies that become international hits in countries such as China, South Korea, India, and Turkey are "jidaigeki". That leads me to agree with your explanation.

Kasuga: Both China and South Korea also put a lot of effort into period dramas. Even in Europe and America, historical dramas continue to be made. Right now, other countries have an abundance of shows, such as “Game of Thrones” that was produced in America.

There is an adventurous spirit in the unfamiliar past. Also, in the old days there was a class system in society that is even more unforgiving than today. There was also live-or-die combat. For that reason, it’s also easier to create turns that are more dramatic than modern stories.

The ‘international nature’ of "jidaigeki"

── When you ask a Westerner to name Japanese movies they know, an overwhelmingly large number say they’re familiar with movies by Kurosawa. Akira Kurosawa (1910–1998) directed numerous "jidaigeki", but why is it that his films have become so strongly established as a brand representative of Japan?

Kasuga: Kurosawa’s "Rashomon" (1950) won the Golden Lion award at the Venice International Film Festival, which earned him the name, the ‘international Kurosawa.’ Moreover, he gave birth to a new expression of entertainment in films such as "Seven Samurai" (1954), "The Hidden Fortress" (1958), and "Yojimbo" (1961).

That influenced a new age of directors like Sergio Leone, Steven Spielberg, Francis Ford Coppola, Martin Scorsese, and George Lucas. They showed respect for Kurosawa in different forms. Leone remade a Kurosawa film, albeit without permission, while Spielberg, Coppola, and Lucas financed productions, and Scorsese appeared in a Kurosawa film.

There are other directors throughout the world who have been influenced by Kurosawa. No other director in Japan has had such a global impact for so long.

Kasuga: It can be said that Akira Kurosawa’s attention to powerful images and dynamism are major reasons for him being so respected by directors around the world. This includes each instance of camera blocking, camera movement, and lens selection, as well as the drama that played out against a backdrop of a burning water mill and a huge fight in pouring rain in "Seven Samurai", and the duel amid large clouds of swirling dust in "Yojimbo"—they all have dramatic visual effect. These kinds of powerful images are visually mesmerizing, so even if you don’t completely understand the dialogue and context, you can enjoy the films.

Additionally, that was possible precisely because they are "jidaigeki". It could be said that by taking the possibilities of "jidaigeki" to the extreme, Kurosawa created entertainment that people around the world can enjoy. "jidaigeki" can be understood as traditional culture native to Japan, but in truth they can also be said to be depictions with an international nature.

The good and the bad of “Mito Komon”: The long-running, half-century old series with the highest audience rating of 40%

── That brings home once again the greatness of the director, Kurosawa. However, it’s hard to say that today Japan’s "jidaigeki" attract very many fans overseas. Even in Japan, there are probably few people who imagine the amazing action of a Kurosawa film at the mention of "jidaigeki". Why has it become this way?

Kasuga: That’s likely because of the impact of the television series, “Mito Komon” that began in 1969. From the latter half of the 1960s, the main battlefield for "jidaigeki" shifted from movies to television. The creators sensed the possibilities of this new medium of television and delved into creating exciting, challenging "jidaigeki".

Programs such as “Hissatsu Shikakenin” (1972) can be called examples of that. On the surface, the main character is an acupuncturist, but his hidden identity is an assassin who accepts money and kills people with his needles. This was edited with extremely shadowy, strong images and created a unique hardboiled world. These types of programs were boldly crafted and became hits. That’s the kind of era it was.

Kasuga: That becomes the stereotypical pattern from the latter half of the 1970s. It was due to the influence of “Mito Komon.”

“Mito Komon” episodes present the story of the character, Mitsukuni Mito who possesses authority just below that of the shogun around the middle of the Edo period (late 17th century). He disguises himself as an ordinary person, and while traveling throughout the country he punishes the villains he meets wherever he goes. This became a popular program from the latter half of the 1970s just when television was becoming a big industry, which coincided with the pursuit of optimization in programming. Most "jidaigeki" became a one-pattern story of rewarding virtue and punishing vice. Because a high volume of these "jidaigeki" were produced over many years, the general image of "jidaigeki" became established.

Kinji Fukasaku, master of the ‘action’ jidaigeki

── Even in Japan, there are few young fans, and that image has become entrenched, hasn’t it? However, aren’t there still Japanese "jidaigeki" that are hidden treasures you’d like for young Japanese people and people around the world to get to know?

Kasuga: First of all, if it’s a creation that offers the audience action they can enjoy, I think it’ll be easy for non-Japanese people to like, too. When it comes to Director Kurosawa, there are films like "Seven Samurai" and "The Hidden Fortress" (1958), but there are also interesting "jidaigeki" created under the influence of such films. For instance, “Lone Wolf and Cub” is a series adaptation of a manga. It was filmed in the first half of the 1970s and featured Tomisaburo Wakayama as the lead actor. It’s full of exciting action that is so impressive you’ll be amazed at how much action variation there can be in a "jidaigeki".

Kasuga: Kinji Fukasaku (1930–2003) was one of the masters of action "jidaigeki". The director was known for yakuza movies such as "Battles Without Honor and Humanity" (1973), but actually his "jidaigeki" are also interesting.

Shinichi Chiba is an actor who appeared in many of Fukasaku’s movies. He said he shared the understanding with Director Fukasaku that the “body is the actor’s language.” Creating various expressions through action is important to actors, and it’s necessary for them to prepare their bodies to be able to express anything. That is indeed why it resonates worldwide. Because the dynamism of the people in action exceeds the language barrier. In actuality, Hiroyuki Sanada who was nurtured under this kind of teaching is working in Hollywood, which proves the point.

"Samurai Reincarnation" (1981) starring Chiba is a striking example of "jidaigeki" by Fukasaku. In the film, ominous undead master swordsmen, including Musashi Miyamoto who was active in the early Edo period, come back to life from the afterworld through supernatural powers. Chiba plays Yagyu Jubei, a master swordsman, who fights against these evil reincarnations. The great actors who portrayed the resurrected master swordsmen, including Ken Ogata, Tomisaburo Wakayama, Hideo Murota, and Hiroyuki Sanada, seem to transform into real ghosts. The charisma of Shinichi Chiba who challenges them is remarkable, and every piece of action packs a punch. The final one-on-one battle that took place amid the flames of a set that was actually set on fire is powerful.

From the difficulties of women’s lives to boy’s love (BL), the contemporary quality found in "jidaigeki"

── One of the primary reasons for "jidaigeki" gaining popularity in today’s global market is the fact that they depict female images that appeal to modern times. Please tell us if there are any Japanese "jidaigeki" based around women.

Kasuga: In society before modern times, as you’d expect women existed in the shadow of men, so accurate presentations in "jidaigeki" of the hardship and tragedy that likely befell such women in the past speak to women who feel the difficulties of life in today’s world.

For instance, "The Life of Oharu" (1952) directed by Kenji Mizoguchi (1898–1956) depicts a woman who is battered by the oppression and desires of men because of her beauty, and though she tries to resist, she is ruined.

Kasuga: In the film, "A Woman Named En" (1971) directed by Tadashi Imai (1912–1991), a woman is forced into confinement with her family because her father lost his position in samurai society. The film shows her studying while corresponding with the outside world and trying to carve out a new fate through her intelligence. It’s likely that women today who watch this kind of film can sympathize in a way.

Also, you can watch "jidaigeki" as boy’s love (BL) stories presenting ‘beautiful, intimate relationships between men.’ For example, there is the situation in which a character slays a friend, though he doesn’t want to, which heightens the excitement of the fight scene. Depicting this requires presenting a passionate friendship and sense of trust between the men who are dueling. If you change your perspective, it appears as if the two love one another, and even the duel appears to be a love scene. You can find this in masterpieces such as "Sanjuro" (1962) and "The Tale of Zatoichi" (1963).

A recent example is “Who makes the Genius?”, which was broadcast by NHK in January 2021. It depicts the trusting relationship between two men, Jakuchu Ito, a painter in the Edo period, and Kenjo Daiten, a monk who helps him. At the end is a scene where Jakuchu makes a confession, which is nearly a confession of love. This declaration and the expressions of the actors, Shichinosuke Nakamura and Eita Nagayama, are quite emotionally heart wringing.

Do the origins of the anime, “Gundam” lie in "jidaigeki"?!

── Have you been fascinated by "jidaigeki" since you were little? Your writings have clearly stated that you even watched the animated robot series, “Mobile Suit Gundam” (from 1979) with a "jidaigeki"-like perspective. Were you fully immersed in the world of "jidaigeki" because of family influences?

Kasuga: I didn’t watch variety shows. I’m an only child and just had my parents to talk to. I watched anime, but when the programs were over, I watched shows my parents wanted to so I could talk with them. That was often "jidaigeki", and they were interesting.

So, even when I saw Gundam and the special effects television series, “Space Sheriff Gavan” (1982–1983) I was fascinated by the sword action. That is, I was captivated by the amazing sword battles.

── As I listen to what you’re telling me, it makes me think there is still so much potential hidden in Japanese "jidaigeki". They should be even more enthusiastically promoted so that the world learns about them. Your role as a guide is probably going to be more and more sought after.

Kasuga: I think it’d be great if the world of Japanese film would more confidently promote "jidaigeki" to the world, but in that case there’s a tendency for them to be viewed along the lines of “this is the beauty of Japan” and “this is the samurai spirit.” That’s unfortunate because I think that what’s interesting about "jidaigeki" action and the charisma of the hero are globally appealing. I think it’d be good to present them without being too eager, like how ninja became globally popular characters.