nntsuzu/KFTT huggingface dataset:
English: He became Kannushi (Shinto priest) of Sumiyoshi-taisha Shrine in 1060 and achieved excellent results in the management of the shrine.
Japanese: 1060年（康平3年）住吉大社の神主となり、神社経営に成果を挙げた。
English: There remains an anecdote that he sent horse mackerels to a selector of Goshui Wakashu (Later Gleanings of Japanese poems) in the hope that his waka poems would be selected.
Japanese: 後拾遺和歌集の撰者に小鯵を送って入集を願ったという逸話が残されている。
English: He was the Tachihaki no toneri (bodyguard of the crown prince) of the Imperial Prince Tsunesada, who was the imperial child of Emperor Junna and the crown prince of Emperor Ninmyo, but was captured along with TACHIBANA no Hayanari after the death of the retired emperor for causing a rebellion while Emperor Saga was heavily ill in 842 (the Jowa Incident).
Japanese: 淳和天皇の皇子で仁明天皇の皇太子恒貞親王の春宮帯刀舎人（たちはきのとねり）であったが、842年（承和2年）嵯峨天皇が重病である間に謀反を企てたとして、上皇の没後、橘逸勢とともにとらえられた（いわゆる承和の変）。
English: As a result, Imperial Prince Tsunesada was dismissed from the crown prince position, and Imperial Prince Michiyasu (later Emperor Montoku) was assigned as the crown prince while Kowamine was exiled to Oki Province.
Japanese: その結果、恒貞親王は皇太子を廃され、道康親王（後の文徳天皇）が皇太子に立てられることとなり、健岑は隠岐国に配流となった。
English: He planned to return to Kyoto in 865 after being pardoned but was faced with a demotion transfer to Izumo Province just immediately before it (details are uncertain).
Japanese: 865年（貞観7年）恩赦によって京に戻る予定だったが、直前になって勅命により出雲国へ左遷された（詳細は不詳）。
English: FUJIWARA no Kadonomaro (755 - December 11, 818) was a court noble from the Nara period to the former half of Heian period.
Japanese: 藤原葛野麻呂（ふじわらのかどのまろ、天平勝宝7年（755年）-弘仁9年11月10日(旧暦)（818年12月11日））は、奈良時代から平安時代前期にかけての貴族。
English: Because his sister became a consort of Emperor Kanmu, he was highly honored and in 785 was conferred the rank of Shogoinoge (Senior Fifth Rank, Lower Grade) and made Mutsu no Suke (assistant governor of Mutsu Province) before going on to successively hold positions including Shonagon (lesser councilor of state), Togu no Daibu (Master of the Crown Prince's Quarters), Udaiben (Major Controller of the Right), and Dazai no Daini (Senior Assistant Governor-General of the Dazai-fu offices).
Japanese: 妹が桓武天皇の後宮に入ったために重んじられ、785年（延暦4年）従五位下に叙されると、陸奥介を振り出しに、以後少納言・春宮大夫・右大弁・大宰大弐などを歴任した。
English: He was also appointed Zogushi (palace construction officer) of Heian-kyo (the ancient capital of Japan in current Kyoto), and in 793, he allocated residential land in the new capital to government officials.
Japanese: 平安京の造宮使にも任ぜられ、793年（延暦12年）には官人に新京の宅地を配分した。
English: In 801, he was appointed Kento-shi (Japanese envoy to Tang Dynasty, China) and traveled to Tang Dynasty China with Saicho and Kukai in 804.
Japanese: 801年（延暦20年）遣唐使に任命され、804年（延暦23年）に最澄・空海らと共に唐に渡った。
English: He was granted an audience with Emperor Dezong (Tang Dynasty) and in the following year of 805, he witnessed the death of Emperor Dezong and accession of Emperor Shunzong.
Japanese: 徳宗(唐)に謁見し翌805年（延暦24年）の徳宗崩御と順宗(唐)即位に遭遇する。
English: When Emperor Heizei was enthroned in 806, Kadonomaro's role as Togu no Daibu while the emperor was Crown Prince saw him promoted to the position of Gonsangi (a provisional deputy councilor) and then Sangi (councilor) while he also served as Shikibukyo (Minister of the Ministry of Ceremonies).
Japanese: 806年（延暦25年/大同(日本)元年）に平城天皇が即位すると、かつて皇太子時代の春宮大夫であった事から直ちに権参議に、続いて参議に昇任し、式部卿を兼ねた。
English: He was subsequently appointed a trusted vassal of the emperor and the year 808 was made Chunagon before being conferred the rank of Shosanmi (Senior Third Rank) in the following year of 809.
Japanese: その後も天皇の近臣として重用され、808年（大同3年）に中納言に任じられ、翌809年（大同4年）に正三位に叙せられた。
English: When the Kusuko Incident broke out in the year 810, both he and FUJIWARA no Saneo warned Retired Emperor Heizei not to raise an army but this was not heeded.
Japanese: 810年（弘仁元年）薬子の変が起きた際には藤原真雄とともに平城上皇を挙兵を思いとどまるよう諌めたが受け入れられなかった。
English: Although Kadonomaro was a relative of FUJIWARA no Kusuko, he was found not to be guilty and later also served as Minbukyo (Minister of Popular Affairs).
Japanese: 藤原薬子と縁戚関係であったが、罪を問われずにその後は民部卿を兼ねた。
English: He was also involved in the compilation of the "Konin" kyakushiki code (amendments to penal and administrative law compiled in 820) with FUJIWARA no Fuyutsugu and AKISHINO no Yasuhito under Emperor Saga.
Japanese: 嵯峨天皇の元において、藤原冬嗣・秋篠安人らと「弘仁格式」の編纂にも関わっている。
English: After his death, his son Tsunetsugu was appointed chief of the Japanese envoy to Tang Dynasty China (the last Kento-shi to have actually visited Tang Dynasty China) in 834.
Japanese: 死後、834年（承和(日本)元年）には、息子の常嗣が父に続いて遣唐大使（実際に渡唐した最後の遣唐使）に任命されている。
English: FUJIWARA no Korefusa (1030 - October 10, 1096) was a court noble who lived from the middle to the end of the Heian period.
Japanese: 藤原伊房（ふじわらのこれふさ、長元3年（1030年）-永長元年9月16日(旧暦)（1096年10月4日））は、平安時代中期から後期にかけての公家。
English: He was awarded the rank of Jugoi (Junior Fifth Rank) in 1031, and thereafter held the titles Shonagon (lesser councilor of state), Kurodo (Chamberlain), Mokuryo (Bureau of Carpentry), and benkan (officials of the dajokan).
Japanese: 1031年（長元4年）従五位に叙せられ、以後少納言・蔵人・木工寮・弁官などを歴任した。
English: In 1072, he was appointed as Udaiben (Major Controller of the Right) and Sangi, and on this occasion, he held the rank of Shoshii (Senior Fourth Rank).
Japanese: 1072年（延久4年）に右大弁・参議となり、この時の官位は正四位であった。
English: He was appointed as Gon Chunagon (provisional vice-councilor of state) in 1080 and was awarded the rank of Shonii in 1082.
Japanese: 1080年（承暦4年）権中納言に任じられ、1082年（永保2年）正二位に叙された。
English: On July 16, 1094, he was blamed for having private trade with Liao and was suspended from office, dropping to the rank of Junii (Junior Second Rank).
Japanese: 1094年（寛治8年）5月25日、遼と私貿易を行ったことをとがめられ、従二位に降格の上、停職を命じられた。
English: As an able retainer serving Emperor Shirakawa, he was equally admired as 'saki no sanbo' (former three retainers) with OE no Masafusa and FUJIWARA no Tamefusa.
Japanese: 白河天皇に仕えた賢臣として、大江匡房・藤原為房とともに「前の三房」と並び称された。
English: TAIRA no Iesada (1084 - 1167) was a roto (retainer) of the Taira family during the late Heian period.
Japanese: 平家貞（たいらのいえさだ、1084年（応徳元年）-1167年（仁安(日本)2年））は、平安時代後期の平家の郎党。
English: Being a branch of Kanmu-Heishi (Taira clan), his grandfather was said to be TAIRA no Sadamitsu or TAIRA no Norisue, and his father was said to be TAIRA no Iefusa (Suefusa) or TAIRA no Norisue.
Japanese: 桓武平氏の傍流であるが祖父は平貞光・平範季、父は平家房（季房）・平範季と諸説ある。
English: He was famous as a royal retainer: he eavesdropped on court nobles' plan for a sneak attack when Tadamori became tenjobito (a high-ranking courtier allowed into the Imperial Palace), and prevented it from occurring.
Japanese: 忠臣として著名で、忠盛が殿上人になった際に公卿たちの闇討ちの計画を立ち聞きし、それを未然に防いだという。
English: Minoru MURATA (March 2, 1894-June 26, 1937) was a movie director, scriptwriter and actor who lived from the Taisho period to the early Showa period.
Japanese: 村田實（むらたみのる、1894年3月2日-1937年6月26日）は、大正・昭和初期の映画監督、脚本家、俳優。
English: He left Shingeki (literally, new play) to join 'Eiga Geijutsu Kyokai' (literally, Movie Art Association) which had been established by Norimasa KAERIYAMA, and is known to have worked on "Rojo no Reikon" (Souls on The Road) as a director when he was at Shochiku Cinema Laboratory established by Kaoru OSANAI.
Japanese: 新劇から帰山教正の「映画芸術協会」に参加、小山内薫の「松竹キネマ研究所」で『路上の霊魂』を監督したことで知られる。
English: He was active to adopt foreign film methods and contributed to establish a foundation to give Nikkatsu modern plays that are manlike, have deep and heavy features, unlike the 'Kamata Style' of Shochiku.
Japanese: 洋画の手法を積極的に取り入れ、松竹の「蒲田調」に対して男性的で重厚な日活現代劇の基礎を築いた。
English: He was born as an only son of Goro MURATA, a director of Dainippon-tosho Co., Ltd., whose residence was located in Ogawa-machi (present-day Ogawa-machi, Kanda, Chiyoda Ward), Kanda, Tokyo City.
Japanese: 東京市神田小川町（現千代田区神田小川町）に大日本図書重役村田五郎の一人息子として生まれる。
English: Because his father's office was in Kyobashi (Chuo Ward, Tokyo), they soon moved to the Ginza leaving his grandfather in the house in Kanda, who was from the warrior class and an Official Appraiser in the Ministry of Agriculture and Commerce (Japanese.)
Japanese: 当時会社が京橋(東京都中央区)にあったので、やがて銀座に引っ越すが、神田の家に士族であった農商務省(日本)鑑定官の祖父が残っていた。
English: He started going back and forth between the Ginza and Kanda, and grew up enjoying reading books influenced from his father's occupation and being familiar with appraisal in close contact with old art from his grandfather's hobbies and occupation.
Japanese: 銀座と神田とを行き来するようになり、父の職業の関係上読書に親しみ、また祖父の趣味・職業の関係上古美術に親しみ品評にならされて育った。
English: His family faithfully believed in Christianity and he was baptized in his childhood ('Joseph' as Christian name.)
Japanese: また敬虔なクリスチャンの家であったので幼時に洗礼を受けている（洗礼名「ヨゼフ」）。
English: In 1906 he finished Elementary School attached to Tokyo Higher Normal School and entered Junior High School attached to Tokyo Higher Normal School.
Japanese: 1906年、東京高等師範学校附属小学校から東京高等師範学校附属中学校に入学。
English: He loved reading books of Kafu NAGAI who was his senior at junior high school, and also went to 'Kanda kinki-kan,' a theater specializing in foreign movies every time the showing was renewed since his family did not allow him to see stages.
Japanese: 中学の先輩である永井荷風を愛読し、家に芝居見物を禁止されていたため近所の洋画専門上映館「神田錦輝館」に替り日ごとに通う。
English: At that time, Norimasa KAERIYAMA, Yasujiro SHIMAZU and Heinosuke GOSHO who were his seniors at junior high school, often visited Kinki-kan, too.
Japanese: この時期の錦輝館には中学の先輩である帰山教正、島津保次郎、五所平之助も足繁く通っている。
English: Just before he finished junior high school, he saw a stage drama for the first time and was greatly impressed with Edward Gordon Craig's stage design and decided to study about plays.
Japanese: そして中学卒業前に初めて舞台を観劇し、エドワード・ゴードン・クレイグの舞台デザインに感銘を受け、演劇の道を志すことになる。
English: Though his parents told him to get a higher education, he 'had a feeling of opposition about the education system' at that time and his doctor did not recommend him to go to higher school due to his unhealthy condition.
Japanese: 家には進学を勧められたが、当時の「教育制度に反感をおこして」いた上に病気がちのため医者が進学を勧めなかった。
English: After he finished middle school, he became a part-time student at Keio University Literature Department and studied drawing at Aoibashi Western painting school of Hakuba-kai
Japanese: 卒業後は慶應義塾文科の聴講生となり、白馬会の葵橋洋画研究所へ絵を習いに通った。
English: After working as a waiter at Teigeki Bungei-bu, he took a job of Shosei (a student who is given room and board in exchange for performing domestic duties) for Sagoromo KURISHIMA (Sumiko KURISHIMA's father-in-law) and 石川木舟.
Japanese: 帝劇文芸部の給仕を経て、栗島狭衣（栗島すみ子の義父）や石川木舟の書生として働いた。
English: In September 1912, using his family's money, he published a play and art magazine "Toride" which was greatly affected by Gordon CRAIG, Max Reinhardt and Maeterlinck, etc.
Japanese: 1912年9月、家の金を使い、ゴードン・クレイグやマックス・ラインハルト、メーテルリンクなどに大きく影響を受けた演劇美術雑誌『とりで』を発行。
English: Ryusei KISHIDA, Hisa ANDO, Hitoshi SEIMIYA and Kiichi OKAMOTO produced the front pages and he drew pictures by himself for each issue.
Japanese: 表紙を岸田劉生、安堵久左、清宮彬、岡本帰一らが手がけ、自身も毎号カット画を描いている。
English: While most of the same types of magazines were discontinued with the third issue, this magazine "Toride" lasted to the eighth issue which was published in October of the next year.
Japanese: 三号までの刊行が大方の同種の雑誌の中で、この『とりで』は翌年10月の八号まで続いたという。
English: The group had other members including Tatsuya KISHIDA who became a producer in Takarazuka Revue Company later, Michiro ITO who became a famous dancer abroad, and Sohachi KIMURA an artist.
Japanese: 後に宝塚歌劇の演出家となる岸田辰弥、舞踊家として海外で活躍することになる伊藤道郎、画家の木村荘八らが参加。
English: The group gave performances at Tsukiji Seiyo-ken Hall, Yuraku-za and a small theater located in Momosuke Fukuda's residence, and during these performance, he got acquainted with Shojiro SAWADA, Kaoru OSANAI, etc.
Japanese: 築地精養軒ホールや有楽座、福沢桃介邸の小劇場で公演を行い、この間に沢田正二郎、小山内薫らと知り合う。
English: He spent a number of years in obscurity, changing from one new drama group to another, including groups such as those led by Takeo KAWAI, Takashi IBA, and Rokuro KITAMURA.
Japanese: 河合武雄、伊庭孝、喜多村緑郎門下などの新劇団を転々とし下積み生活を送る。
English: To make a new start in February 1917, he formed a new drama group 'Toro-sha' with Sugisaku AOYAMA, Iyokichi KONDO, and Tsugio SEKIGUCHI who became a Germanist later and performed Yoshiro NAGAYO's product "Gaka to sono deshi" (An Artist and His Disciples) at Bijutsu Club.
Japanese: 1917年2月、心を新しくして青山杉作、近藤伊与吉、後のドイツ語学者関口存男らと新劇団「踏路社」を結成し、芸術倶楽部で長与善郎作『画家とその弟子』を公演。
English: It is thought that at Sekiguchi's advice, he first used the term 'stage-managing' (enshutsu) in Japan at that time.
Japanese: この時、関口の助言で、日本で初めて「演出」という言葉を使ったとされる。
English: In 1918, he and members of 'Toha-sha' joined Eiga Geijutsu Kyokai which had been established by Norimasa KAERIYAMA through Shingeki group's member, and he starred in "Sei no Kagayaki" (The Shining Life) and "Miyama no Otome" (The Maiden of Deep Mountain) (directed by Norimasa KAERIYAMA) with Harumi HANAYAGI as a lead actress, who was thought to be 'the first cinema actress in Japan.'
Japanese: 1918年、新劇仲間の紹介で帰山教正の「映画芸術協会」に「踏路社」の仲間と参加し、『生の輝き』・『深山の乙女』（帰山教正監督）に「日本最初の映画女優」とされる花柳はるみと共に主演する。
English: According to Iyokichi KONDO's reminiscences, when reading a scenario of "Sei no kagayaki," Murata told Kaeriyama, 'The method of how to make scenarios is not understandable to us, but this scenario is Shinpa-Geki (a New-School Play) like this.' and stayed up all night long for three straight nights to revise the scenario with Kaeriyama and Kondo.
Japanese: 近藤伊与吉の回想によると『生の輝き』のシナリオを読んだ際、村田が帰山に「脚本の作法と言うものは吾々には解らないが、そのままではその脚本は新派劇ですよ」と発言し、帰山・近藤と三晩徹夜してシナリオを直したという。
English: In 1919, however, there was a conflict of ideas over the production of the fourth film "Saraba Seishun" (Goodbye Youth) (directed by Iyokichi KONDO) and he left the group.
Japanese: しかし1919年、四作目の『さらば青春』（近藤伊与吉監督）で演出意見の衝突により脱退。
English: In the same year, he was a second winner in a scenario contest for second-type movies (available for all generations) which was sponsored by Tokyo Nichinichi Newspaper (the first winner was Iwao MORI who became a director of Toho Co., Ltd. later and the third winner was Komatsu KITAMURA, a scenario writer in Shochiku Kamata.)
Japanese: 同年には『東京日日新聞』主催の乙種活動写真（全年齢対象）向けの脚本募集に二位入選している（一位は後の東宝専務の森岩雄、三位は後の松竹蒲田の脚本家北村小松）。
English: He had lectures with Kiyohiko USHIHARA, Yasujiro SHIMAZU, Daisuke ITO, Denmei SUZUKI and Komatsu KITAMURA, and wrote the scenarios of "Hoshi no Bara," (The Rose of the Service) (the showing was postponed due to excessive Western mimicry) as the Schochiku's first film produced at Shochiku Kamata Studio and "Hikari ni tatsu onna (Joyu-den)" (The Woman Standing in the Light - Memoir of an Actress) and directed these movies.
Japanese: 牛原虚彦、島津保次郎、伊藤大輔、鈴木傳明、北村小松らと講義を受け、松竹蒲田撮影所で松竹第一作として製作された『奉仕の薔薇』（西洋模倣の行き過ぎにより公開が見送られる）、『光に立つ女（女優伝）』の脚本・監督を務める。
English: In the meantime, 'Shochiku Cinema School of Acting' was closed due to confrontations with in-house directors who were focused on commercialism.
Japanese: やがて社内の商業主義監督たちとの対立により「俳優学校」が廃止された。
English: When Osanai established the 'Shochiku Cinema Laboratory,' he joined him and was involved in the first production "Rojo no Reikon" (Souls on The Road) as both a director and an actor.
Japanese: 小山内が「松竹キネマ研究所」を設立すると行動をともにし、その最初の作品『路上の霊魂』の監督、出演をこなす。
English: Just after the movie was complete, Murata got seriously sick and the mother of Kiyohiko USHIHARA (he wrote the scenario and appeared in it) and fathers of Monjiro MIZUTANI (shooting) and Yasujiro SHIMAZU (lighting) died a sudden death.
Japanese: しかし完成直後に村田が大病に罹り、牛原虚彦（脚本・出演）の母、水谷文次郎（撮影）と島津保次郎（光線）の父が急逝する事態になった。
English: The movie had a great deal of response at that time, and still exists as a material telling about the earliest days of Japanese art films.
Japanese: 当時の反響は大きく、今日まで残る日本の芸術映画黎明期を伝える資料となっている。
English: In August 1921, 'Shochiku Cinema Laboratory' was dissolved and Murata took the responsibility for weighing on Shochiku's financial position because he spared no expense for production costs, and resigned from the company.
Japanese: 1921年8月に「松竹キネマ研究所」は解散し、村田は製作費に糸目をつけず松竹の経済を圧迫した責任で辞任。
English: At Tokyo Cinema Shokai, he made advertising commercial for cosmetics companies and took a job of cutting or editing at a day wage of only five yen.
Japanese: 東京シネマ商会で化粧品の宣伝映画などを作ったり、一日五円の日当てでカッティングや編集の仕事を引き受けた。
English: Also, he joined Kokusai katsuei which was going to fold up and made films starring an actor of female roles (starring Teinosuke KINUGASA who had quit Nikkatsu Mukojima).
Japanese: 潰れかかった国際活映に入社して女形（日活向島を退社した衣笠貞之助が出演）を使った映画を撮ったりもした。
English: In 1923, he joined Nikkatsu Studio through Iyokichi KONDO, but he experienced hardship in which he was at first forced to use poor scenarios and unknown actors and actresses.
Japanese: 1923年、近藤伊与吉の仲介で日活撮影所に入所するが、当初はつまらない脚本や売れない役者を押し付けられるなど不遇であった。
English: According to Kondo's reminiscences, when Koichi NEGISHI, general manager of the head office saw Murata for the first time, Kondo was accused by him saying 'Such a small man can't be a director.'
Japanese: 近藤の回想によると初めて村田を見た本社の根岸耕一支配人に「あんな小さな男で監督が出来るかッ」と叱られたという。
English: At that time, he went to the Koishikawa Hakubunkan museum almost every night after finishing his work in Mukojima and gave guidance on the Artisan Theater (Labor Theater)held in the long house of the museum.
Japanese: またこの頃は向島での仕事を終えると毎晩のように小石川博文館の長屋で開かれていた職工演劇（労働演劇）の指導に通った。
English: Sunao TOKUNAGA who became a proletarian writer later wrote appreciative words, and a letter from Sen KATAYAMA, a socialist to Murata was published in "Shin eiga" (literally "New Movie") in July 1923 issue.
Japanese: 後のプロレタリア作家徳永直が感謝の言葉を綴っており、社会主義者片山潜から村田に宛てた手紙が『新映画』一九二三年七月号に掲載されている。
English: The studio in Mukojima was destroyed during the Great Kanto Earthquake and Nikkatsu gendai geki department was moved into Nikkatsu Studio in Kyoto and named 'Dainibu' (Second Department).
Japanese: 関東大震災で向島撮影所が全壊し、日活現代劇部は京都の日活撮影所に「第二部」として移された。
English: In 1924, "Seisaku no tsuma" (A wife of Seisaku,) which is thought to be the first anti-war movie in Japan was well received, supported by the great performance of a new actress Kumeko URABE, and in 1925, he first won an award of '1925 Asahi Shimbun Best Movie of the Year' for "Machi no Tejinashi" (The Magician of the City) in Japanese movie category.
Japanese: 1924年、日本最初の反戦映画とされる『清作の妻』が新人浦辺粂子の熱演もあり、好評を得、1925年には『街の手品師』で「大正14年度朝日新聞最優秀映画」を日本映画で初めて受賞した。
English: Murata is thought to be a director who first established the so-called film technique in which a play was broken up by cutting, and since he tried to mold actors and actresses into his style, his acting instruction was so harsh that there was a lot of trouble with leading actresses of that time including Okada.
Japanese: 村田はカットごとに演出を細分化する、いわゆる映画的技法を最初に確立した監督の一人と言われているが、容赦なく自分の型に俳優をはめ込もうとして演技指導は苛烈を極め、岡田をはじめ当時の大女優とトラブルが多かった。
English: From the time when this "Machi no Tejinashi" was being shot to around the time this movie started to show, he invited Sotoji KIMURA to his house in Tojiin as shosei (a student who is given room and board in exchange for performing domestic duties), and headhunt Eiji NAKANO from Nikkatsu Baseball Team to employ him for Haiyubu (Actors Department).
Japanese: この『街の手品師』撮影・封切前後は木村荘十二を等持院の自宅の書生に招き、日活野球部にいた中野英治を俳優部に採用している。
English: Just before the shooting of a next film "Daichi wa hohoemu" (The Earth Smiles) was about to start, he fell sick and Kenji MIZOGUCHI substituted for him and made the film successful.
Japanese: 次作『大地は微笑む』の撮影直前に急病で倒れ、溝口健二が代わり成功させた。
English: In July of the same year, at the advice of Ueschi-sha in Germany, Mizoguchi left for Europe to hold a show of "Machi no Tejinashi" with Iwao MORI who wrote the scenario, leaving Nikkatsu's directors including Matsunosuke ONOE who came to see them out at the airport.
Japanese: 同年7月、ドイツのウエスチ社のすすめで『街の手品師』を携え、脚本を担当した森岩雄とともに尾上松之助ら日活重役に見送られて渡欧。
English: While they held a show in Paris and Berlin, they were shocked with problems that occurred with screening equipment and bad critics, 'The pictures are too dark and have too much of a Western air too; it is enough for such a unique country to add its own taste to the movie as a unique country' (French magazine "Shine-miroa").
Japanese: パリ、ベルリンで上映会を開くが、上映機材の不具合や「絵の暗いこと、欧州臭いこと、特種国は特種国らしい味を出していればそれでいいのだ」（仏『シネ・ミロア』誌）などと大不評であり、ショックを受けた。
English: However, Germany director Lupu Pick got interested in the movie, and he was back home in January 1926 with his promise of holding a show to save face.
Japanese: しかし、ドイツのループピック監督が興味を示し上映会を開くという約束を取り付け、一応の面目を施して1926年1月に帰国した。
English: In May of the same year, he was nominated as the second winner in the Third Kinema Junpo Top Ten (1926) because he used the setting featuring the abstract painting style of Tomoyoshi MURAYAMA as Russian Constructivism in a movie "Nichirin" a joint film with Daisuke ITO and drew a lot of attention.
Japanese: 同年5月、連合映画芸術家協会の伊藤大輔との競作『日輪』では、ロシア構成主義者村山知義の抽象画風の装置を演出に取り入れ話題となり、第3回（1926年度）キネマ旬報ベストテンで第2位に選出。
English: However, Nikkatsu gendai geki of that time was significantly behind the Shochiku Kamata Studio and for countermeasures, he and Iwao MORI established the planning headquarters 'Nikkatsu Kinyo-kai' at the Marunouchi head office with the approval of Koichi NEGISHI who had been promoted to director in June of the same year.
Japanese: しかし、当時の日活現代劇は松竹蒲田に大きく遅れをとっており、その対策として、同年6月に常務に昇格した根岸耕一の了解を得、森岩雄と丸の内の本社内に企画本部「日活金曜会」を設立。
English: Eizo TANAKA who was still in the head office and Hajime MASUDA, Akira IWASAKI and Kajiro YAMAMOTO who were persons outside of Nikkatsu joined Nikkatsu Kinyo-kai.
Japanese: 本社に残っていた田中栄三をはじめ、益田甫、岩崎昶、山本嘉次郎ら社外の者が会員となった。
English: They wrote new and fresh scenarios or made new and fresh plans for Nikkatsu's directors including Yutaka ABE, and succeeded in forming a modern image for Nikkatsu gendai geki.
Japanese: 阿部豊ら日活監督のために清新なシナリオや企画を生産立案して、日活現代劇のモダン・イメージの形成に成功した。
English: In March 1927, he was elected for the first rank in the 'Director popularity poll' in the magazine called "Eiga Jidai" (literally meaning movie era) March issue (Kiyohiko USHIHARA for the second rank) and established himself as a movie director.
Japanese: 1927年3月には『映画時代』三月号の「監督人気投票」で第一位（第二位は牛原虚彦）に選出され、監督としての確固たる地位を築く。
English: Soon after that, when the shooting of "Tsubaki hime" (The Lady of the Camelias) as a project planned by 'Kinyo-kai' was goin on, he blew up a leading character Yoshiko OKADA with his scorching-like words in front of crowds, and Okada ran off together with her opposite Ryoichi TAKEUCHI, also because of stress and frustration in her private life.
Japanese: しかし、直後に開始された「金曜会」企画の『椿姫』の撮影中に主役の岡田嘉子に群衆の前で罵倒に近い叱声を浴びせかけ、私生活の縺れも重なって、岡田が相手役の竹内良一と駆け落ちし一時失踪。
English: The company persuaded Iwao MORI who was saying that 'Unless Okada takes the role, I will take back the scenario' and Shizue NATSUKAWA who was reluctant to join, and the movie achieved a financial success, although they were compelled to change the characters to the imperfect casting.
Japanese: 会社が「岡田がやらないのなら、脚本をひっこめる」という森岩雄と嫌がる夏川静江をなだめ、ミスキャストに変更せざるを得なくなったが、興業的には大ヒットした。
English: From that time, as a general manager of liberal art, he started taking on the role of producing Nikkatsu modern drama and was involved in the production of Tomotaka TASAKA's "Kekkon Nijuso" (Marriage Duet) (the 8th place of the Fifth Kinema Junpo Top Ten (1928.)
Japanese: この頃から文芸部長として日活現代劇のプロデューサー的存在となり、1928年には田坂具隆の『結婚二重奏』（第5回（1928年度）キネマ旬報ベストテン第8位）の演出を手がけた。
English: In June of the same year, he published "Eiga Kagaku Kenkyu" (Movie Science Research), with Kiyohiko USHIHARA and was devoted to teaching young people.
Japanese: 同年6月に牛原虚彦と『映画科学研究』を創刊するなど、後進の指導にも注力した。
English: At the end of the year, he started shooting "Kaijin," Roka TOKUTOMI's original tragedy featuring issues of the climate of thought in Japan.
Japanese: そして年末には日本の思想風土の問題点を主題にした徳富蘆花原作の悲劇『灰燼』の撮影にとりかかった。
English: Kaneto SHINDO who was a movie fan and watched Kaijin first-run in March 1929 the next year, reviewed that the movable long shots made by Junichiro AOSHIMA in Eizan cable car to follow Eiji NAKANO acting as a straggler of Saigo's army provided beautiful spectacular scenes he had, for the first time, seen in Japanese movie history.'
Japanese: 翌1929年3月の封切を観た当時映画青年であった新藤兼人は、叡山ケーブルから中野英治扮する西郷軍の敗残兵の姿を追う青島順一郎の俯瞰移動撮影を「日本映画ではじめて見る壮大な映像美であった」と回想している。
English: This movie was appreciated; 'This movie is one of the best movies which have been made in Japan so far' and won the second prize in the Sixth Kinema Junpo Top Ten (1929.)
Japanese: 「これは今日に至るまで、日本に於て作られた映画の中で、その最も優れたるものの一つである」と評され第6回（1929年度）キネマ旬報ベストテン第2位を獲得。