Why Akira Kurosawa's version of the ``Tokyo Olympics'' never materialized, Part 2

Uncertain director change drama and third director

After filming `` Blue Mountains '' (1949), which depicts the joy of democracy at Toho, Imai became a freelancer and sought a more free place to make films, which he planned on his own, `` Until We Meet Again '' (50). His career was progressing smoothly, but at that time, due to the Red Purge, the Communist Party and its affiliates were forced out of their jobs, and Imai was also banned from major movie companies. For this purpose, he once earned a living by opening a scrap shop, but Toei producer Mitsuo Makino famously said, ``I am neither right nor left. I am a Dainippon Eiga Party who loves movies.'' Imai was invited by Toei to shoot the anti-war film `` Tower of Himeyuri '' (53), which became a huge hit due to Imai's talent as a film director. This is also because he had a sense of balance in balancing his own ideology and beliefs with the projects required by film companies. For this reason, the Olympic Film Association must have believed that Imai would be able to bring cinematic excitement to Olympic films.

In an interview with Kinema Junpo at the beginning of 1964, Imai answered, ``It is true that I have been asked to direct an Olympic movie, but it seems like things are getting mixed up.'' Even though the contract date had been decided, After two months had passed and he had not heard from him, and he heard that The Journalist were opposing his appointment, he finally visited Chairman Taguchi and questioned him about the situation. According to Imai's essay, Taguchi said, ``It's true that there are sidekicks coming from certain quarters, but I can't say what kind of people they are.However, if there is a situation where we have to change the director now... "Well, I'm planning on quitting film production, so I'd like you to wait a little longer," he replied (Ushio, August 1965 issue).

If, following Kurosawa, Imai also became unavailable, Taguchi may have felt a sense of crisis, as Tabata and others were on the verge of becoming a problem for his own advancement or retreat. Imai seemed to have realized this critical situation, saying, ``I felt sorry for Mr. T's position, and I told him that depending on the situation, it would be fine to ask someone else to do it for him'' (cited above).

This is where the film director Tadashi Imai was so cunning, or rather, he had the ability to make his own ideology and beliefs coexist with those of a major film company. This is because I thought that if I was present myself, I would be acknowledging that oppression because it was an oppression of freedom of thought.'' (ibid.) In other words, you can maintain your pride by considering the other person's position and suggesting a solution, but not saying you will step down. It seems that this is an expanded version of Imai's explanation, ``We are planning to film Shinobu Hashimoto's original ``Revenge'' this summer, so what will happen to the Olympics?'' (``Kinema Junpo''). Mr. Tadashi Imai seems to have given the reason as "due to inconvenience in his schedule".

Imai's essay ends with, ``After a while, I read in the newspaper that Ichikawa (Kon)-kun had become the director. Mr. T didn't say hello to me. It wasn't a movie I really wanted to do, so I I didn't really care,'' he ends with a bitter tone. However, I'm sure I'm not the only one who would have liked to have seen the lively ``Tokyo Olympics'' shot by Tadashi Imai, who is completely different from Kurosawa.

Then, on January 13, Taguchi asked Kon Ichikawa to direct the film through Daiei president Masakazu Nagata. Ichikawa avoided giving an immediate answer and left the matter to Nagata, and a week later, on the 20th, he formally accepted Nagata's request. The director's decision was made with just 264 days remaining until the event. Because Ichikawa did not have much time, ``I told Chairman Taguchi that I would like to appoint several other people besides myself'' (Chuokoron, August 1965 issue). At this time, Ichikawa named Susumu Hani, Nagisa Oshima, Yasuzo Masumura, and Hiroshi Teshigahara as co-directors. The film is made up of young directors, mostly in their 30s, who were releasing ambitious Japanese films at the time, as well as directors who boldly adopted cutting-edge film techniques and directors who had also worked on documentaries. This also shows what Ichikawa expects from them.

However, ``I had no choice but to give up without even negotiating because it was impossible to financially support the long-term detention of these four men'' (cited above). The idea never saw the light of day, but as in Imai's case, other forces also seem to have been at work. According to Ichikawa, ``Other than Mr. Two, there was another reason given, but that is so ridiculous that I will not write about it here'' (cited above). Perhaps this was due to concerns about Nagisa Oshima's political ideology, which was strongly reflected in her works (maybe Susumu Hani was the other?), but in any case, it was foolish to let such a possibility slip by. It must be.

By the way, although Kurosawa said that he would be willing to give advice even after he declined to be the director, he has not actually been involved in the Tokyo Olympics since Ichikawa became the director. However, ``Mr. Ichikawa did not watch the Rome Olympics, so he visited Coach Kurosawa, who is close to him, to ask for advice.'' Mr. Kurosawa said in a good mood, ``Even the athletes who are doing their best look good.'' There is also a testimony that says, ``He gave detailed advice such as this'' (`` Hyonden: Tabata Politics '').

Kurosawa is said to have told his daughter Kazuko Kurosawa about Ichikawa's ``Tokyo Olympics.''

"Kon-chan's Tokyo Olympics movie was wonderful. It received mixed reviews, but I liked it. I'm glad that it was Kon-chan's style with his delicate and unique perspective. He managed to save money and still bring out his own unique beauty. It's amazing. Just because you have a lot of money doesn't mean you can make a good movie; it's a good example of how ingenuity and effort are required.'' (Bungei Shunju, May 1992 issue)

"Ode to Joy" was played as filming began.