We use Optical Character Recognition (OCR) during our scanning and processing workflow to make the content of each page searchable. You can view the automatically generated text below as well as copy and paste individual pieces of text to quote in your own work.
Text recognition is never 100% accurate. Many parts of the scanned page may not be reflected in the OCR text output, including: images, page layout, certain fonts or handwriting.
Robert Florey
The best Japanese picture that I have seen, and one of the best pictures that I have seen in my life, is Chushingura. Denmei f Japanese actor, now lives in Hollywood^) and Shigeyoshi Suzuki took me to see that picture during my 1934 trip to Japan. This picture should have been cut down a little, and then shown all over the world. It was not, though it was a cinematic masterpiece. Three years later, in 1937, I found that Kyoto-made classical pictures had progressed naturally, but that modern dramas and comedies made in 1'okyo seemed all to be of the same pattern and construction. The comedies especially had not progressed —they still looked as though they had been in a great hurry and for very little money. I saw six modern comedies — the quality of the sound and photography were far from outstanding, and thus far below the high standards achieved in such classical dramas as The Summer Battle of Osaka, or that marvellous picture made in Korea, The Journey by Shigeyoshi Suzuki.
I was not very much impressed by Arnold Fancies attempt to internationalize Japanese movie art in his picture The New Earth (or The Daughter of the Samurai J The picture was extremely well photographed and mounted and was technically good, but somehow the story did not seem to reach the goal which Fanck seemed aiming for. There was too much scenery in the picture and also too many ideas, which created a confused medley of beauty, drama, propaganda and travel. If a Japanese producer as well educated and as continental as Nagamasa Kawakita wishes to produce a picture to be shown the world over, he should choose either a colourful Kabuki play, easily understandable by all nations, or a subject known to all countries, such as “ Madame Chrysantheme ”
(O-Kiku -san j) or “Butterfly” (O-Cho FujiiF). If a singing Butterfly is not to be found in Japan, the scenario of this opera is interesting enough to justify the making of a plain drama based on the same story but without songs or music.
Korea and Manchoukuo could also be exploited to advantage for the making
55