Shunpu den

But whatever I cooked up after that was up to me.” For him, the role of the B-director was a double-edged sword: limited resources meant both less on-set supervision and more compromise.

Like any shrewd workman, though, Suzuki was at his best when turning his limitations into strengths.

With Ryoji Hayama, Chako van Leeuwen, Masumi Okada Japan 1959, 35mm, b/w, 88 min.After a short stint at Shochiku, where he assisted on a number of melodramas, Suzuki migrated along with Shohei Imamura to Nikkatsu, then rebranding, after a ten-year hiatus, as an ostensibly edgy genre outfit with an eye toward the youth market.His first gigs were as an apprentice to veteran Hiroshi Noguchi, whose eventual helming of a script written by Suzuki gave the studio’s executives the confidence to audition their fledgling talent in the director’s chair—though only on lower-budgeted program pictures that would play alongside A-films.Ten years of television features and corporate commissions followed before Suzuki was welcomed back into the theatrical film business with a smattering of works for smaller production companies, most of which satiated certain appetites left unfulfilled by his day job years earlier.It was in films like 1980’s , afforded him an unprecedented opportunity to push his action filmmaking eccentricities into overdrive on the dime of a sympathetic backer.

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