nntsuzu/KFTT huggingface dataset:
English: He directed "Zanjin Zanbaken" (Slashing Swords, Shochiku Kyoto) starring Ryunosuke TSUKIGATA, which surprised people with novelties including cutbacks and travel shots.
Japanese: 月形龍之介主演で『斬人斬馬剣』（松竹京都）を監督、カット･バックや移動撮影の斬新さで世を驚かす。
English: These two works were referred to as 'Keiko Eiga' (trend film), influenced by socialist thought at that time, and more than 300 feet of the completed film of "Issatsu Tasho Ken" was censored by the prewar Ministry of Home Affairs.
Japanese: この二作は、当時の社会主義思想の影響を受けた「傾向映画」とされるもので、『一殺多生剣』は内務省の検閲によって、完成フィルムから300フィート余りが削除されている。
English: He directed "Kobo Shinsengumi (Zen-Go Shi)" (Ups and downs, Shinsengumi) depicting Shinsengumi, and the entertainment epic "Ooka Seidan Mazo hen."
Japanese: 新撰組を描いた『興亡新撰組（前・後史）』、娯楽大作『大岡政談魔像編』を監督。
English: "Madamu to Nyobo" (Madam and Wife, Shochiku Cinema Laboratory, directed by Heinosuke GOSHO) starring Kinuyo TANAKA was released this year, leading the film industry into the period of 'talking pictures'.
Japanese: この年、田中絹代主演の『マダムと女房』が（松竹キネマ、五所平之助監督）封切られ、映画界は「トーキー映画」の時代に入っていく。
English: He directed "Les Miserables" in two volumes (originally written by Victor-Marie Hugo), starring Masao INOUE who was from the same town as ITO.
Japanese: 同郷の井上正夫を主演に据え、『噫（ああ）無情』全二巻（ヴィクトル・ユーゴー原作）を監督。
English: In addition to many troubles with film companies at this time because of his naturally very free-spirited character, his socialist thinking was suppressed by the authorities.
Japanese: この時期、元々極めて奔放な性格で映画会社とトラブルが多かったことに重ねて、伊藤の社会的思想は当局によって弾圧の対象となった。
English: As censorship intensified, he was saddened and lost his enthusiasm for making films after the talking picture period, and did not leave impressive works because of losing ground to Yasujiro OZU, Kenji MIZOGUCHI, Sadao YAMANAKA and others.
Japanese: 検閲、言論統制が強まっていく時代の流れのなか、トーキー時代以降は映画作りの意欲が衰えて不振を極め、小津安二郎、溝口健二、山中貞雄らに押されて、目立つ作品を残していない。
English: This year, he broke away from Nikkatsu to establish 'Shin eigasha' (New Film Company) with Minoru MURATA, Tomotaka TASAKA, Tomu UCHIDA and others.
Japanese: 同年、村田実、田坂具隆、内田吐夢らとともに日活から独立し、「新映画社」を設立する。
English: He established the 'Directors Guild of Japan' with Mansaku ITAMI, Teinosuke KINUGASA, Minoru MURATA and Kiyohiko USHIHARA.
Japanese: 伊丹万作、衣笠貞之助、村田実、牛原虚彦と連名で「日本映画監督協会」を設立。
English: "Kurama Tengu Arrived in Yokohama" was representative of Arakan's (Kanjuro ARASHI) work, but he appeared in it only in Daiei Kyoto.
Japanese: 「鞍馬天狗」はアラカンの代表作であるが、大映京都ではこの一本に終わっている。
English: He bolstered the popularity of period drama and subsequently continued to make new works once a year while bringing up stars of period drama in these works.
Japanese: こうした作品で時代劇スタアを育て上げると同時に、時代劇人気を支え、以後年に一本のペースで新作を撮り続ける。
English: This film became his subsequent life's work, being remade twice into "Osho Ichidai" starring Ryutaro TATSUMI in Shintoho in 1955 as well as "Osho" starring Rentaro MIKUNI in Toei Movie Studios in 1962.
Japanese: この作品はその後のライフワークとなり、その後1955年（昭和30年）に新東宝で辰巳柳太郎を主演に『王将一代』、1962年（昭和37年）に東映東京で三國連太郎を主演に『王将』と、2度に渡りリメイクしている。
English: He made Shochiku's 30-year anniversary film, "Oedo Gonin Otoko" (Five Men of Edo) using all stars including Tsumasaburo BANDO, Utaemon ICHIKAWA and others, which gained popularity.
Japanese: 松竹30周年記念映画『大江戸五人男』を阪東妻三郎、市川右太衛門ら、オールスターを迎えて製作し、人気を博した。
English: These were made for Raizo ICHIKAWA (the eighth), a star belonging to Daiei, and were praised for their images featuring the beauty of Kabuki style.
Japanese: これらは大映スター市川雷蔵(8代目)のために撮られた作品で、歌舞伎の様式美を意識した映像で評価された。
English: He was involved in two famous series of Daiei films, providing the scripts of "Nemuri Kyoshiro Buraiken" (Sleepy Eyes of Death: Sword of Villainy) of the 'Nemuri Kyoshiro Series' starring Raizo in 1965 as well as "Zatoichi Jigokutabi" (Zatoichi hell journey) of the 'Zatoichi Series' starring Shintaro KATSU in 1966.
Japanese: また、1965年（昭和40年）、雷蔵主演の「眠狂四郎シリーズ」の『眠狂四郎無頼剣』、1966年（昭和41年）に勝新太郎主演の「座頭市シリーズの『座頭市地獄旅』に脚本を提供、大映の２大シリーズに関わる。
English: This was a masterpiece using Kinnosuke YOROZUYA, Toshiro MIFUNE and others, based on "Ryoma ga yuku" (Ryoma goes) by Ryotaro SHIBA.
Japanese: 司馬遼太郎の『竜馬がゆく』をベースにし、萬屋錦之介、三船敏郎らの共演で撮った大作だった。
English: He loved travel shots (a method of filming by moving cameraman and camera on a dolly on a rail) and got the nickname 'IDO DAISUKI' (I love moving), a pun on his name.
Japanese: 非常に移動撮影（レールを敷き、カメラマンとカメラを載せた台車がレール上を移動させて撮影する方法）が好きな監督であり、姓名を捩って「イドウダイスキ（移動大好き）」と渾名された。
English: Nowadays, however, almost all of ITO's scenario films are scattered and lost, and it is difficult to grasp the whole picture.
Japanese: ただし今日、伊藤の撮った名作群は、シナリオ・フィルムともにそのほとんどが散逸してしまい、全貌をうかがうことが難しいものとなっている。
English: Fortunately, though, "Oatsurae Jirokichi Koshi" is left almost in the original condition and shows a part of his remarkable talent.
Japanese: ただ、幸いなことに『御誂次郎吉格子』は比較的原型に近い形で残っており、その恐るべき才能の一端をうかがい知ることが出来る。
English: Thanks to the efforts of related parties, parts of "Chokon," "Chuji Tabi Nikki" and "Zanjin Zanbaken" were recently discovered and have also been recovered.
Japanese: また近年、関係者の努力により、『長恨』、『忠治旅日記』、『斬人斬馬剣』の一部が発見され、復元作業も行われている。
English: There is a monument to honor his great achievement in the Motoyuigi Children's Park, his birthplace.
Japanese: 生誕の地である、元・結掛児童遊園には、その偉業を讃えて記念碑が建立されている。
English: Kiyoyuki (also called Kiyotsura) MIYOSHI (847-January 16, 919 or January 15, 919) was a scholar of the Chinese classics in the middle Heian period.
Japanese: 三善清行（みよしきよゆき/きよつら、承和(日本)14年（847年）-延喜18年12月7日_(旧暦)（919年1月16日）あるいは延喜18年12月6日_(旧暦)（919年1月15日）は平安時代中期の漢学者。
English: He was an intellectual filled with a sense of justice not yielding to authority, which was said to have prevented his promotion.
Japanese: 正義感に溢れた経世家で権威に屈せず、そのために官位が停滞したと言われている。
English: Kiyoyuki once failed the examination for recruiting government official in which SUGAWARA no Michizane served as an examiner, and subsequently he had conflicts with Michizane at every opportunity.
Japanese: 清行は一度官吏の登用試験に落ちたが、この時の試験官が菅原道真で、後にことあるごとに道真と対立する。
English: He was appointed to Dainaiki (senior secretary of the Ministry of Central Affairs) in 887 and swept aside the theory of TACHIBANA no Hiromi by lecturing with FUJIWARA no Sukeyo and KI no Haseo in the Ako Controversy the next year.
Japanese: 仁和3年（887年）大内記に任ぜられ、翌年の阿衡の紛議に際しては藤原佐世・紀長谷雄とともに所見を述べ、橘広相の説を退けた。
English: In 900, he gave a letter to SUGAWARA no Michizane who was increasingly isolated in the Imperial Court, conflicting with FUJIWARA no Tokihira in order to advise him to resign, but Michizane refused due to their longstanding feud.
Japanese: 昌泰3年（900年）、藤原時平と対立し朝廷内で孤立を深めつつあった菅原道真に対して書簡を呈して引退を勧告したが、道真は長年の確執からこれを退けてしまう。
English: Kiyoyuki's concern soon became reality and Michizane was demoted to Dazai gon no sochi (provisional governor-general of the Dazai-fu offices) in the Shotai Incident.
Japanese: やがて清行の危惧はあたり昌泰の変で道真は大宰権帥に左遷されてしまった。
English: Kiyoyuki was pointed out for his involvement in the political change because Kiyoyuki pointed out to Tokihira that all of the students of SUGAWARA no Kiyokimi, a grandfather of Michizane, would be punished and the Imperial Court would come to a standstill if all parties related to Michizane were involved, and he imposed the penalty only on the relatives of Michizane and close advisers of the Retired Emperor Uda, and because Kiyoyuki succeeded to Daigaku no kami (director of the Bureau of Education) due to the downfall of SUGAWARA no Takami, a legitimate son of Michizane.
Japanese: なお、この時清行は時平に対して、道真の関係者全てを連座の対象とすると、道真の祖父菅原清公以来の門人が全て処罰の対象となり朝廷が機能停止に陥る事を指摘し、処分を道真の親族と宇多上皇の側近のみに留めたことや、清行が道真の嫡男菅原高視の失脚で後任の大学頭に就いたことから、清行の政変への関与も指摘されている。
English: With a good knowledge of Onmyodo (way of Yin and Yang) and Tenmondo (ancient astrology), he marked the beginning of kakumeikanmon and Shinyukaigen by proposing to change the name of the era to 'Engi,' noting that the year 901 was the year for Shinyu-kakumei (revolution in Kanototori of the Chinese astrological calendar) according to Shinisetsu.
Japanese: 陰陽道天文道に明るく、昌泰4年（901年）は讖緯説による辛酉革命の年に当たると指摘、「延喜」と改元することを提唱して革命勘文・辛酉改元の端緒を開く。
English: After he addressed "Ikenfuji Junikajo" (Twelve Opinions) at the request of the Imperial court in 914, he was promoted to Sangi at the age of 71 while serving as Kunaikyo (Minister of the Sovereign's Household).
Japanese: 延喜14年（914年）、朝廷の求めに応じて『意見封事十二箇条』を上奏した後、71歳で参議に昇り、宮内卿を兼ねた。
English: On January 7, 902, he was promoted to Shogoinoge (senior fifth rank, lower grade), while retaining his positions as Daigaku no kami, Monjo hakase and Ise no Gon no suke.
Japanese: 延喜2年（902年）1月7日、正五位下に昇叙し、大学頭・文章博士・伊勢権介元の如し。
English: Because of this service, he was honored to hold the post of three offices (Shikibu shoyu, Daigaku no kami and Monjo hakase).
Japanese: これにより、三職兼帯（式部少輔・大学頭・文章博士）という栄誉に与る。
English: On January 7, 915, he was promoted to Jushiijo (junior fourth rank, upper grade) while retaining his position as Shikibu no taifu.
Japanese: 延喜15年（915年）1月7日、従四位上に昇叙し、式部大輔元の如し。
English: FUJIWARA no Yukitsune (1012 - November 30, 1050) was a court noble and calligrapher who lived during the mid-Heian period.
Japanese: 藤原行経（ふじわらのゆきつね、寛弘9年（1012年）-永承5年閏10月14日(旧暦)（1050年11月30日））は、平安時代中期の公卿・能書家。
English: Hotei NOMURA (November 13, 1880 - August 23, 1934) was a film director, screenwriter and producer who lived during the Taisho period and early Showa period.
Japanese: 野村芳亭（のむらほうてい、1880年11月13日-1934年8月23日）は、大正・昭和初期の映画監督、脚本家、映画プロデューサーである。
English: His father had the alias 'hokoku' and was in the business of making scenery and signs for theaters on Teramachi-dori street and Sanjo-dori Street in Kyoto, and monopolized the production of the scenery for the Miyako Odori (Dance of the Capital).
Japanese: 父は「芳圀」と号し、京都・寺町通三条通で劇場用の背景や看板の製作を業とし、「都をどり」の背景を独占的に製作していた。
English: The nature of his father's business meant that he had a connection to Kyoto's theatre industry from a young age, and he was close friends with Shochiku founders Matsujiro SHIRAI and Takejiro OTANI.
Japanese: その父の関係で、若いときから京都劇界につながりがあり、松竹創始者の白井松次郎、大谷竹次郎とは懇意であった。
English: In 1897, he served as an assistant when textile manufacturer Katsutaro INABATA invited the French engineer François-Constant Girel to give the first ever cinematograph show in Japan.
Japanese: 1897年（明治30年）に、京都で、織物業者稲畑勝太郎がフランス人技師ジュレールを招いてシネマトグラフの上映を日本で最初に行ったときに助手を務めた。
English: He used this knowledge to become deeply involved in 'rensa geki' screen-and-stage plays and became president of shinpa geki (new school of Noh) at the Hongo-za Theater.
Japanese: その知識を生かし、舞台と映画を連続して上映する「連鎖劇」に深くかかわり、「本郷座」で新派劇の頭取になる。
English: It was also during this period that he met with Shozo MAKINO who was working at the Senbon-za Theatre before he going on to direct for the Yokota Shokai and Nikkatsu production companies.
Japanese: またこのころ、横田商会やその後の日活で映画監督となる前、「千本座」時代の牧野省三と交流があった。
English: When Shochiku formally began producing films in 1920, Hotei NOMURA was appointed to the board of directors at the Shochiku Kamata Studio.
Japanese: 1920年（大正9年）、松竹が本格的に映画製作に乗り出すと、松竹蒲田撮影所の理事に迎えられる。
English: He directed the short film "Yukanuri" (evening paper seller) and increased the company's profits to become appointed head of the studio.
Japanese: 短編劇映画『夕刊売』を監督し、利益を上げ、1921年（大正10年）、同撮影所の所長となる。
English: Hotei NOMURA fused the American style of Henry Kotani with his own family dramas to produce the forerunners of modern Shochiku films.
Japanese: ヘンリー・小谷のアメリカンスタイルと自身の家庭ドラマをミックスした「松竹現代映画」の原型を作った。
English: His use of contemporary drama actors in classical drama productions and realism in 'classical drama moving pictures' became the model for subsequent period dramas.
Japanese: また、旧劇の演目に現代劇俳優を起用して、従来の「旧劇活動写真」の写実化を徹底し、これが後の時代劇の原型となった。
English: In 1924, Hotei NOMURA resigned from his position as studio head and returned to directing, with his final film being "Taii no Musume" (The Captain's Daughter) before he left for the Shochiku Kyoto Studio.
Japanese: 1924年（大正13年）、撮影所長を辞任して一監督に戻り、『大尉の娘』を最後に蒲田を去り、松竹京都撮影所へ異動する。
English: He continued to provide the public what they wanted by making films that possessed great artistry and also had the ability to attract audiences.
Japanese: その後も、大衆の望むものを追及し続け、芸術性も高く、集客力もある作品を作り続けた。
English: In 1934, he collapsed at the test screening of his final work as director, 'Machi no Bofu' (A storm in the town) in 1934, and passed away on August 23 of the same year.
Japanese: 1934年（昭和9年）、最後に監督した作品となった『街の暴風』の公開試写会場で倒れ、同年8月23日死去した。
English: Mansaku ITAMI (real name Yoshitoyo IKEUCHI; January 2, 1900 - September 21, 1946) was a Japanese film director active during the early Showa era.
Japanese: 伊丹万作（いたみまんさく、本名：池内義豊、1900年1月2日-1946年9月21日）は、昭和初期に活躍した映画監督。
English: He displayed great literary talent, publishing an amateur literary magazine with individuals including Kusatao NAKAMURA and Daisuke ITO (film director).
Japanese: 中村草田男、伊藤大輔(映画監督)などと同人雑誌を作り、文才を競った。
English: He briefly returned home to see his sick father but took up screenwriting as a result of his friendship with the director Daisuke ITO.
Japanese: 一時期病気の父を見舞うため郷里へ帰ったが、映画監督をしていた伊藤のもとで脚本を書くようになった。
English: In 1928, he joined Kataoka Chiezo Productions as an assistant director/screenwriter.
Japanese: 1928年、片岡千恵蔵プロダクションに助監督兼脚本家として参加する。
English: He went on to create films displaying his unique sense of satire such as "Kokushi Muso" and "Kakita AKANISHI" to become considered one of the greatest intellectual directors in the industry.
Japanese: 以後『国士無双』『赤西蠣太』など独特の風刺の効いた作品を発表し、映画界随一の「知性派」として大監督のひとりに数えられた。
English: Mansaku ITAMI retired from directing after his 1938 film "Kyojinden" (A story of giant) and returned to Kyoto in 1940 where he wrote the screenplays for "Muhomatsu no Issho" (Lie of Muhomatsu) and "Te wo tsunagu kora" (Children holding hands) for Nikkatsu.
Japanese: 1938年の『巨人伝』を最後に監督を辞め、1940年に京都へ帰り、日活で、『無法松の一生』や『手をつなぐ子等』の脚本を書いた。
English: Hiroshi INAGAKI (December 30, 1905 - May 21, 1980) was a Japanese film director.
Japanese: 稲垣浩（いながきひろし、1905年12月30日-1980年5月21日）は、日本の映画監督。
English: He helped lay the foundations of the film industry in Japan, and as such he was one of Japan's most famous directors; his films are also very popular with overseas audiences.
Japanese: 日本映画の基礎を作った名監督の一人であり、海外での評価も極めて高い。
English: He was born in Komagome Sendagi Town in Tokyo's Hongo ward (today 1-chome, Sendagi, Bunkyo Ward) to his father Jiro TOMEI, an actor of the new acting school.
Japanese: 東京本郷区駒込千駄木町（現・文京区千駄木1丁目）に、父は新派俳優・東明二郎の息子として生まれた。
English: He stopping going to elementary school in his first year because his mother was ill, and starting when he was seven with his debut, he appeared on stage as a child actor under the name Hiroshi TOMEI.
Japanese: 母の病気のために小学校を一年でやめ、7歳から東明浩の芸名で子役となり舞台に立つ。
English: His mother passed away when he was eight, and so he went on tour with his father, giving performances around Japan; during this period, he also taught himself to read and write, becoming quite a bookworm in an effort to become a novelist or playwright; he soon began writing his own plays.
Japanese: 8歳の時に母が亡くなり、父と共に旅公演に出たが、この間に独学で読み書きを覚え、小説家、劇作家を目指すほどの読書家となり、戯曲の執筆をはじめる。
English: In 1923, Inagaki's father-son performances (with his father Jiro) began to appear on the silver screen, including in such works as director Kenji MIZOGUCHI's film 'Yoru' (Night), but as time passed Inagaki set his sights on becoming a director himself, leading him to take part in Daisuke ITO's Ito Film Study Group studying scenarios.
Japanese: 12年、溝口健二監督の「夜」などで銀幕での親子出演を果たすが、やがて監督を志すようになり、伊藤大輔の伊藤映画研究所に参加し、シナリオを学ぶ。
English: He later switched to working as assistant director to Teinosuke KINUGASA, and in 1928, through the good offices of Ito, he, along with Mansaku ITAMI, was invited to participate in the founding of the Chiezo KATAOKA Productions film company.
Japanese: のち衣笠貞之助の助監督を経て、昭和3年伊藤の紹介で伊丹万作とともに片岡千恵蔵プロの創設に参加。
English: That same year, Inagaki made his directorial debut on the film 'Tenka Taiheiki' (Record of the Great Peace Under Heaven), which starred Chiezo and whose screenplay was written by Itami; thereafter, he made a great number of cheerful period dramas showing Chiezo's merrier side, including 'Hoto zanmai' (Drowning in the Three Pleasures), 'Genji kozo' (The Young Priest Genji), 'Ehon musha shugyo' (Picture Book of a Warrior Traveling to Hone His Martial Skills), and 'Genroku Ju-san nen' (Year Thirteen of the Genroku Era (about the year 1700)), leading to Inagaki and Itami being called the 'two supporting pillars' of Chiezo Productions.
Japanese: 同年千恵蔵主演、伊丹脚本の「天下太平記」で監督としてデビューし、以後、「放蕩三昧」「源氏小僧」「絵本武者修行」「元禄十三年」といった千恵蔵主演の明朗にして陽気な時代劇を多数手がけ、伊丹と共に千恵蔵プロの二本柱と呼ばれた。
English: Inagaki's adaptations to the silver screen of stories by Shin HASEGAWA like 'Mabuta no haha' (Mother of my Eyelids) and 'Ippongatana dohyo iri' (Ippongatana (One-sword) enters the ring) as well as Kan Shimozawa's work 'Yataro kasa' (Yataro's kasa (a type of conical hat)), of the wandering warrior genre, also garnered rave reviews; in later years such films by Inagaki were repeatedly remade.
Japanese: また長谷川川伸の「瞼の母」「一本刀土俵入り」、子母沢寛原作「弥太郎笠」などのまた旅物も好評で、のちにたびたびリメイクされている。
English: In 1934, he formed a screenplay writing group that managed to establish a presence in the film world with other young filmmakers living in Kyoto's Narutaki area, including Shintaro MIMURA, Sadao YAMANAKA, Eisuke TAKIZAWA, and Fuji YAHIRO; under the combined pen-name 'Kinpachi KAJIWARA,' this group wrote the scenarios for 'Hyakuman ryo no ko' (The Million-Dollar Vase) and 'Soshun Kouchiyama,' both directed by Yamannaka, and for 'Taikoki' (Chronicle of Hideyoshi) and 'Miyamoto Musashi' (Musashi Miyamoto), both directed by Takizawa, and every one of these films written by the group became smash hits.
Japanese: 9年には三村伸太郎、山中貞雄、滝沢英輔、八尋不二ら京都の鳴滝に住んでいた若手映画人らと映画会社の垣根を超えた脚本執筆集団を結成し、「梶原金八」の合同筆名で山中監督「百万両の壺」「河内山宗俊」、滝沢監督「太閤記」「宮本武蔵」のシナリオを執筆し、それぞれヒットを飛ばした。
English: Following this, Inagaki continued to shoot films, mainly around Nikkatsu Uzumasa and Uzumasa Kyoto, and in 1935 he co-directed 'Seki no Yatappe' with Yamanaka; Inagaki also independently crafted some of his most celebrated epic and period films during this period, including his 1935 film 'Daibosatsu toge' (literally 'The Bodhisattva's Pass' but sometimes credited as 'The Sword of Doom' in English) based on the original novel by Kaizan NAKAZATO, his 1936 film 'Matatabi sen-ichi ya' (A Thousand and One Nights in a Gambler's Wandering Life) starring the actors of the Zenshin troupe, and the film 'Umi wo wataru sairei' (The Ocean-Crossing Festival) in 1941.
Japanese: その後は日活太秦や太秦京都を中心に映画を撮影し、10年山中と共同監督した「関の弥太ッぺ」、中里介山原作の「大菩薩峠」、11年前進座出演の「股旅千一夜」、16年「海を渡る祭礼」などといった時代劇の大作や話題作を製作。
English: In 1943 he welcomed Tsumasaburo BANDO as his new star, and Inagaki's 'Muhomatsu no issei' (Life of Muhomatsu), whose screenplay was written by Itami from his sickbed, is hailed as a pre-1945 masterpiece of Japanese film, but the scene where Muhomatsu the rickshaw driver confesses his love to a soldier's widow was considered unacceptable given the wartime situation and was cut by the censors.
Japanese: 18年には阪東妻三郎を主演に迎え、病床の伊丹が脚本を担当した「無法松の一生」は戦前の日本映画を代表する名作といわれるが、人力車夫・無法松が軍人の未亡人に愛の告白をするという場面が時局に合わないとして、検閲でカットされた。
English: Inagaki resumed making films very soon after the war ended with his 1945 'Saigo no joi to' (The Final 'Expel the Foreigners' Group), and in 1947 directed the period drama that is now recognized as the finest film produced by To-Yoko Eiga (today's Toei Company, Ltd.): 'Kokoro tsuki no gotoku' (A Heart Like the Moon).
Japanese: 戦後は20年の「最後の攘夷党」でいち早く活動を開始し、22年東横映画(現・東映)の第一作となった現代劇「こころ月の如く」を監督。
English: Starting in 1950, he began working mainly for Toho; his film 'Miyamoto Musashi,' starring Toshiro Mifune as Musashi, won the 1955 Academy Award for Best Foreign Language Film.
Japanese: 25年からは主に東宝で活躍し、31年三船敏郎の「宮本武蔵」がアカデミー賞外国語映画賞を受賞。
English: In 1957, he re-released his own film 'Muhomatsu no issei' with the scenes that had been cut by the wartime censors restored; the complete version then went on to win the Grand Prix at the Venice International Film Festival, and the story of the brief telegram he sent to Japan just after receiving the reward, 'won, cried,' is quite famous.
Japanese: さらに33年には自作「無法松の一生」を戦時中にカットされた箇所を元に戻して再度映画化し、ベネチア国際映画祭グランプリに輝く、このときに本国に「トリマシタ　ナキマシタ」の電報を打ったという話は有名である。
English: Beginning in 1955, he was recognized, along with Akira KUROSAWA, as being one of Toho's two great master directors of epics and period dramas; in 1959 he created 'Nihon tanjo' (The Birth of Japan), Toho's commemorative 1000th film, starring Mifune and featuring special effects by Eiji TSUBURAYA, as well as the 1962 commemorative film 'Chushingura' (sometimes credited as 'The Forty-Seven Ronin' in English) celebrating the 30th anniversary of Toho's founding in 1932, both of which achieved success as entertainment films.
Japanese: 昭和30年代以降は黒澤明とともに東宝の大作及び時代劇路線の代表的な監督とされ、34年三船出演・円谷英二特撮の東宝1000本記念映画「日本誕生」を、37年東宝30周年記念映画「忠臣蔵」を製作し、それぞれ興行的に成功を収めた。
English: Tomu UCHIDA (real name Jojiro; April 26, 1898 - August 7, 1970) was a Japanese film director active during the Taisho and Showa periods.
Japanese: 内田吐夢（うちだとむ、本名・常次郎、1898年4月26日-1970年8月7日）は、大正・昭和期の映画監督である。
English: He is a master of Japanese cinema who created numerous works since the creation of the Japanese film industry until the postwar period.
Japanese: 日本映画の創生期から戦後にいたるまで、骨太な作品を撮りつづけた「巨匠」である。
English: His sons are Yusaku UCHIDA - the former Toei head of Toei Ikuta Studios, and the film director Issaku UCHIDA.
Japanese: 息子に元「東映生田撮影所」所長の内田有作、映画監督の内田一作らがいる。
English: Tomu joined Taisho Katsuei, which had recently been founded in Yokohama, where he served as an assistant to Thomas Kurihara.
Japanese: 横浜に創立されたばかりの大正活映に入社し、トーマス・栗原監督の助手を務める。
English: He later also worked as an actor, appearing in several films including a starring role in the comedy "Gantan no Satsuei."
Japanese: その後、俳優も兼ねるようになり、『喜劇・元旦の撮影』に主演したのをはじめ、何本かの映画に出演する。
English: Tomu moved to Makino Kyoiku Eiga Seisakujo (film studio) where he made his directorial debut alongside Teinosuke KINUGASA with the film "Aa, Konishi Junsa" (Oh, Police Officer Konishi).
Japanese: 牧野教育映画に移り、『噫小西巡査』を衣笠貞之助と共同監督し監督デビューする。
English: However, he went on to join a troupe of traveling performers, living life on the road at places such as Asakusa as an itinerant entertainer and manual laborer.
Japanese: しかし、その後、旅役者の一座に混じって放浪生活に入り、旅役者や肉体労働者として浅草などで生活する。
English: He went on to use Kosugi's strong character to produce a succession of 'tendency film' masterpieces incorporating the leftist ideology popular at the time.
Japanese: これ以来、小杉の強烈なキャラクターを効果的に使い、当時流行していた、左翼思想を盛り込んだ「傾向映画」の傑作を次々と生み出していく。
English: Along with Minoru MURATA, Daisuke ITO (film director) and Tomotaka TASAKA, he left Nikkatsu and established a new film company but this was soon dissolved.
Japanese: 村田実、伊藤大輔(映画監督)、田坂具隆らが、日活から独立し、新映画社を設立したときに行動を共にするが、程なく解散する。
English: It was there that he created films such as "Kagirinaki Zeshin" (Endless Progress) and "Tsuchi" (soil), which would later be considered masterpieces.
Japanese: そこで、『限りなき前進』、『土』など、後世に最高傑作と評せられる作品群を生み出す。
English: He left Nikkatsu due to disagreements over the direction that the company was taking and attempted to establish a new company but after the failure of this venture he relocated to Manchuria where he joined the Manchukuo Film Association.
Japanese: 会社の方針と合わず日活を去り、新会社設立の失敗の後、満州にわたり、満州映画協会に在籍する。
English: In addition to major works such as "Dai-bosatsu Toge" (the Daibosatsu pass) and "Miyamoto Musashi," he also created films exposing the disadvantaged members of contemporary Japanese society including "Mori to Mizuumi no Matsuri" (A festival of the forest and the lake) which dealt with the issue of the Ainu people and "Kiga Kaikyo" (Starvation strait) - a tale of suspense by Tsutomu MINAKAMI set against the backdrop of the burakumin issue.
Japanese: 以降、『大菩薩峠(小説)』、『宮本武蔵映画』のような大作を発表する一方、アイヌの問題を扱った『森と湖のまつり』、部落問題を底流に描いた水上勉のサスペンス『飢餓海峡』など、現代社会の弱者を鋭く照射した作品も発表し続けた。
English: Tomu protested against the cuts that Toei made to "Kiga Kaikyo" due to industry-related issues (this version was shown in most cinemas) and requested that his name be removed from the credits.
Japanese: 興行上の理由から東映が『飢餓海峡』の本編を無断でカット（大部分の上映館では、この版で公開）したことに抗議し、クレジットから名前を外すよう要求。
English: During on-location shooting for "Shinken Shobu" (a fighting with a real sword), the sequel to "Miyamoto Musashi" written by Daisuke ITO, Tomu collapsed and was admitted to hospital.
Japanese: 『宮本武蔵』の続編で伊藤大輔の脚本を得た『真剣勝負』のロケ中に倒れ入院。
English: Kirio URAYAMA (May 14, 1930 - October 20, 1985) was a film director in the Showa Period.
Japanese: 浦山桐郎（うらやまきりお、1930年5月14日-1985年10月20日）は、昭和期の映画監督。