Toshiro Mifune (三船 敏郎, Mifune Toshirō, April 1, 1920 – December 24, 1997) was a Japanese actor and producer. The recipient of numerous awards and accolades over a lengthy career,[1][2] he is widely considered one of the greatest actors of all time.[3][4] A leading figure in the Japanese film industry, he often played hypermasculine characters and was noted for his commanding screen presence.[5]
Toshiro Mifune was born on April 1, 1920, in Seitō, Japanese-occupied Shandong (present-day Qingdao, China), the eldest son of Tokuzo and Sen Mifune.[12] His father Tokuzo was a trade merchant and photographer who ran a photography business in Qingdao and Yingkou, and was originally the son of a medical doctor from Kawauchi, Akita Prefecture.[13] His mother Sen was the daughter of a hatamoto, a high-ranking samurai official.[12] Toshiro's parents, who were working as Methodistmissionaries, were some of the Japanese citizens encouraged to live in Shandong by the Japanese government during its occupation before the Republic of China took over the city in 1922.[14][15] Mifune grew up with his parents and two younger siblings in Dalian, Fengtian from the age of 4 to 19.[16]
In his youth, Mifune worked at his father's photo studio. After spending the first 19 years of his life in China, as a Japanese citizen, he was drafted into the Imperial Japanese Army Aviation division, where he served in the Aerial Photography unit during World War II.[17]
In 1947, a large number of Toho actors, after a prolonged strike, had left to form their own company, Shin Toho. Toho then organized a "new faces" contest to find new talent.
Nenji Oyama, a friend of Mifune's who worked for the Photography Department of Toho Productions, sent Mifune's resume to the New Faces audition as the Photography Department was full, telling Mifune he could later transfer to the Photography Department if he wished.[18] He was accepted, along with 48 others (out of roughly 4,000 applicants), and allowed to take a screen test for Kajirō Yamamoto. Instructed to mime anger, he drew from his wartime experiences. Yamamoto took a liking to Mifune, recommending him to director Senkichi Taniguchi. This led to Mifune's first feature role, in Shin Baka Jidai.
Mifune first encountered director Akira Kurosawa when Toho Studios, the largest film production company in Japan, was conducting a massive talent search, during which hundreds of aspiring actors auditioned before a team of judges. Kurosawa was originally going to skip the event, but showed up when Hideko Takamine told him of one actor who seemed especially promising. Kurosawa later wrote that he entered the audition to see "a young man reeling around the room in a violent frenzy ... it was as frightening as watching a wounded beast trying to break loose. I was transfixed." When Mifune, exhausted, finished his scene, he sat down and gave the judges an ominous stare. He lost the competition but Kurosawa was impressed. "I am a person rarely impressed by actors," he later said. "But in the case of Mifune I was completely overwhelmed."[19] Mifune immersed himself into the six-month training and diligently applied himself to studying acting, although at first he still hoped to be transferred to the camera department.[20]
His imposing bearing, acting range, facility with foreign languages and lengthy partnership with acclaimed director Akira Kurosawa made him the most famous Japanese actor of his time, and easily the best known to Western audiences. He often portrayed samurai or rōnin who were usually coarse and gruff (Kurosawa once explained that the only weakness he could find with Mifune and his acting ability was his "rough" voice), inverting the popular stereotype of the genteel, clean-cut samurai. In such films as Seven Samurai and Yojimbo, he played characters who were often comically lacking in manners, but replete with practical wisdom and experience, understated nobility, and, in the case of Yojimbo, unmatched fighting prowess. Sanjuro in particular contrasts this earthy warrior spirit with the useless, sheltered propriety of the court samurai. Kurosawa valued Mifune highly for his effortless portrayal of unvarnished emotion, once commenting that he could convey in only three feet of film an emotion for which the average Japanese actor would require ten feet.[21] He starred in all three films of Hiroshi Inagaki's Samurai Trilogy (1954–1956), for which the first film in Samurai I: Musashi Miyamoto was awarded an Honorary Academy Award. Mifune and Inagaki worked together on twenty films, which outnumbered his collaborations with Kurosawa, with all but two falling into the jidaigeki genre, most notably with Rickshaw Man (1958), which won the Venice Film Festival Golden Lion.[22]
He was also known for the effort he put into his performances. To prepare for Seven Samurai and Rashomon, Mifune reportedly studied footage of lions in the wild. For the Mexican filmÁnimas Trujano, he studied tapes of Mexican actors speaking so that he could recite all of his lines in Spanish. Many Mexicans believed that Toshiro Mifune could have passed for a native of Oaxaca due to his critically acclaimed performance. When asked why he chose Mexico to do his next film, Mifune quoted, "Simply because, first of all, Mr. Ismael Rodríguez convinced me; secondly, because I was eager to work in beautiful Mexico, of great tradition; and thirdly, because the story and character of 'Animas Trujano' seemed very human to me". The film was nominated for both a Golden Globe and an Oscar. Mifune gave a Japanese pistol as a gift to then-Mexican president Adolfo López Mateos when they met in Oaxaca.[23]
Mifune has been credited as originating the "roving warrior" archetype, which he perfected during his collaboration with Kurosawa. His martial arts instructor was Yoshio Sugino of the Tenshin Shōden Katori Shintō-ryū. Sugino created the fight choreography for films such as Seven Samurai and Yojimbo, and Kurosawa instructed his actors to emulate his movements and bearing.
Mifune may also be credited with originating the yakuza archetype, with his performance as a mobster in Kurosawa's Drunken Angel (1948), the first yakuza film.[citation needed] Most of the sixteen Kurosawa–Mifune films are considered cinema classics. These include Drunken Angel, Stray Dog, Rashomon, Seven Samurai, The Hidden Fortress, High and Low, Throne of Blood (an adaptation of Shakespeare's Macbeth), Yojimbo, and Sanjuro.
Mifune and Kurosawa finally parted ways after Red Beard. Several factors contributed to the rift that ended this career-spanning collaboration. Mifune had a passion for film in his own right and had long wanted to set up a production company, working towards going freelance. Kurosawa and Taniguchi advised against it out of concern they would not be able to cast Mifune as freely.[24] Most of Mifune's contemporaries acted in several different movies in this period. Since Red Beard required Mifune to grow a natural beard — one he had to keep for the entirety of the film's two years of shooting — he was unable to act in any other films during the production. This put Mifune and his financially strapped production company deeply into debt, creating friction between him and Kurosawa. Although Red Beard played to packed houses in Japan and Europe, which helped Mifune recoup some of his losses, the ensuing years held varying outcomes for both Mifune and Kurosawa. After the film's release, the careers of each man took different arcs: Mifune continued to enjoy success with a range of samurai and war-themed films (Rebellion, Samurai Assassin, The Emperor and a General, among others). In contrast, Kurosawa's output of films dwindled and drew mixed responses. During this time, Kurosawa attempted suicide. In 1980, Mifune experienced popularity with mainstream American audiences through his role as Lord Toranaga in the television miniseries Shogun, which Kurosawa criticised for its historical inaccuracy.[25] Mifune spoke respectfully of Kurosawa and loyally attended the premiere of Kagemusha.[26]
Mifune himself was always professional, memorizing all of his lines and not carrying scripts on set.[29] He was unusually humble for an international star, and was known for treating his co-stars and crew very generously, throwing lavish catered parties for them and paying for their families to go to onsen resorts.[30][31] When American actor Scott Glenn was asked about his experience of filming The Challenge (1982) alongside Mifune, Glenn recalled disappointment that the original script (about "a surrogate father and son finding each other from completely different cultures") lost its "character-driven scenes" and was reduced to "a martial arts movie" but stated, "...I remember Mifune came to me, and he said, "Look, this is what's happening. I'm disappointed, and I know you are, but this is what it is. So you can either have your heart broken every day, or you can use this experience as an opportunity to be spending time in the most interesting time in Japan and let me be your tour guide." So it wound up with me learning an awful lot of stuff from Toshirô."[32]
The relationship between Kurosawa and Mifune remained ambivalent. Kurosawa criticized Mifune's acting in Interview magazine and also said that "All the films that I made with Mifune, without him, they would not exist".[citation needed] He also presented Mifune with the Kawashita award which he himself had won two years prior. They frequently encountered each other professionally and met again in 1993 at the funeral of their friend Ishirō Honda, but never collaborated again.[33][34]
Personal life
Among Mifune's fellow performers, one of the 32 women chosen during the new faces contest was Sachiko Yoshimine. Eight years Mifune's junior, she came from a respected Tokyo family. They fell in love and Mifune soon proposed marriage.
In November of the same year, their first son, Shirō was born. In 1955, they had a second son, Takeshi. Mifune's daughter Mika [ja] was born to his mistress, actress Mika Kitagawa, in 1982.
[37]
In 1992, Mifune began suffering from a serious unknown health problem. It has been variously suggested that he destroyed his health with overwork, suffered a heart attack, or experienced a stroke. He retreated from public life and remained largely confined to his home, cared for by his estranged wife Sachiko. When she died from pancreatic cancer in 1995, Mifune's physical and mental state declined rapidly.[citation needed]
On November 14, 2016, Mifune received a star on the Hollywood Walk of Fame for his work in the motion picture industry.[43][44]
Personal quotations
Of Akira Kurosawa, Toshiro Mifune said, "I have never as an actor done anything that I am proud of other than with him".[45]
Mifune had a kind of talent I had never encountered before in the Japanese film world. It was, above all, the speed with which he expressed himself that was astounding. The ordinary Japanese actor might need ten feet of film to get across an impression; Mifune needed only three. The speed of his movements was such that he said in a single action what took ordinary actors three separate movements to express. He put forth everything directly and boldly, and his sense of timing was the keenest I had ever seen in a Japanese actor. And yet with all his quickness, he also had surprisingly fine sensibilities.
"Since I came into the industry very inexperienced, I don't have any theory of acting. I just had to play my roles my way."[47]
"Generally speaking, most East–West stories have been a series of cliches. I, for one, have no desire to retell Madame Butterfly."[48]
"An actor is not a puppet with strings pulled by the director. He is a human being with seeds of all emotions, desires, and needs within himself. I attempt to find the very center of this humanity and explore and experiment."[48]
Legacy
Of Toshiro Mifune, in his 1991 book Cult Movie Stars, Danny Peary wrote,
Vastly talented, charismatic, and imposing (because of his strong voice and physique), the star of most of Akira Kurosawa's classics became the first Japanese actor since Sessue Hayakawa to have international fame. But where Hayakawa became a sex symbol because he was romantic, exotic, and suavely charming (even when playing lecherous villains), Mifune's sex appeal – and appeal to male viewers – was due to his sheer unrefined and uninhibited masculinity. He was attractive even when he was unshaven and unwashed, drunk, wide-eyed, and openly scratching himself all over his sweaty body, as if he were a flea-infested dog. He did indeed have animal magnetism – in fact, he based his wild, growling, scratching, superhyper Samurai recruit in The Seven Samurai on a lion. It shouldn't be forgotten that Mifune was terrific in Kurosawa's contemporary social dramas, as detectives or doctors, wearing suits and ties, but he will always be remembered for his violent and fearless, funny, morally ambivalent samurai heroes for Kurosawa, as well as in Hiroshi Inagaki's classic epic, The Samurai Trilogy.[49]
Peary also wrote,
Amazingly physical, [Mifune] was a supreme action hero whose bloody, ritualistic, and, ironically, sometimes comical sword-fight sequences in Yojimbo and Sanjuro are classics, as well-choreographed as the greatest movie dances. His nameless sword-for-hire anticipated Clint Eastwood's 'Man With No Name' gunfighter. With his intelligence, eyes seemingly in back of his head, and experience evident in every thrust or slice, he has no trouble – and no pity – dispatching twenty opponents at a time (Bruce Lee must have been watching!). It is a testament to his skills as an actor that watching the incredible swordplay does not thrill us any more than watching his face during the battle or just the way he moves, without a trace of panic, across the screen – for no one walks or races with more authority, arrogance, or grace than Mifune's barefoot warriors. For a 20-year period, there was no greater actor – dynamic or action – than Toshiro Mifune. Just look at his credits.[49]
In an article published in 2020 by The Criterion Collection in commemoration of Mifune's centenary of birth, Moeko Fujii wrote,
For most of the past century, when people thought of a Japanese man, they saw Toshiro Mifune. A samurai, in the world's eyes, has Mifune's fast wrists, his scruff, his sidelong squint... He may have played warriors, but they weren't typical heroes: they threw tantrums and fits, accidentally slipped off mangy horses, yawned, scratched, chortled, and lazed. But when he extended his right arm, quick and low with a blade, he somehow summoned the tone of epics.
There's a tendency to make Mifune sound mythical. The leading man of Kurosawa-gumi, the Emperor's coterie, he would cement his superstar status in over 150 films in his lifetime, acting for other famed directors — Hiroshi Inagaki, Kajiro Yamamoto, Kihachi Okamoto — in roles ranging from a caped lover to a Mexican bandit.
Mifune's life on-screen centers solely around men. Women, when they do appear, feel arbitrary, mythical, temporary: it's clear that no one is really invested in the thrums of heterosexual desire... Toshiro Mifune cemented his reputation as an icon of masculinity right alongside Hollywood narratives of neutered Asian manhood. In 1961, Mifune provoked worldwide longing by swaggering around in Yojimbo, the same year that Mickey Rooney played the bucktoothed Mr. Yunioshi in Breakfast at Tiffany's. Looks-wise, he's the opposite of his predecessor, the silent film star Sessue Hayakawa — often christened the "first Hollywood sex symbol" — with his long, slim fingers and Yves Saint Laurent polish. But Mifune represents a development beyond Hayakawa's Japanese-man-on-screen, who, despite his huge white female fanbase, was always limited to roles of the "Oriental" villain, the menace, the impossible romantic lead: in 1957, Joe Franklin would tell Hayakawa in his talk show, "There were two things we were sure of in the silent movie era; the Indians never got the best of it, and Sessue Hayakawa never got the girl."
Mifune never wants the girl in the first place. So the men around him can't help but watch him a little open-mouthed, as he walks his slice of world, amused by and nonchalant about the stupor he leaves in his wake. "Who is he?," someone asks, and no one ever has a good answer. You can't help but want to walk alongside him, to figure it out.[50]
Filmography
Mifune appeared in roughly 170 feature films.[51] In 2015, Steven Okazaki released Mifune: The Last Samurai, a documentary chronicling Mifune's life and career.[52][53] Due to variations in translation from the Japanese and other factors, there are multiple titles to many of Mifune's films (see IMDb link). The titles shown here are the most common ones used in the United States, with the original Japanese title listed below it in parentheses. Mifune's filmography mainly consists of Japanese productions, unless noted otherwise (see Notes column).
The 1999 Danish film Mifune is named after the actor.
Television
All programs originally aired in Japan except for Shōgun which aired in the U.S. on NBC in September 1980 before being subsequently broadcast in Japan on TV Asahi from March 30 to April 6, 1981.
^Mifune's appearance on It's 8 O'Clock! Everybody Gather 'Round was to promote the upcoming New Year's broadcast of Sekigahara. Mifune appeared on stage in a comedic samurai sketch wearing his Sakon Shima armor from the mini-series. In addition, Mifune sang with the "Little Singers of Tokyo" in another segment
^Ten Duels of Young Shingo Part 3, which did not feature Mifune but which concludes the story, aired on July 30, 1982
^Galbraith IV, Stuart (2001). The Emperor and the Wolf: The Lives and Films of Akira Kurosawa and Toshiro Mifune. USA: Faber and Faber. pp. 67–68. ISBN0-571-19982-8.
^Tatara, Paul. "Rashomon". Turner Classic Movies. Archived from the original on December 25, 2008. Retrieved April 29, 2022.
^Galbraith IV, Stuart (2001). The Emperor and the Wolf: The Lives and Films of Akira Kurosawa and Toshiro Mifune. USA: Faber and Faber. pp. 69–70. ISBN0-571-19982-8.
^Kurosawa, Akira. Something like an autobiography. Translated by Audie Bock. p. 161.
^Galbraith IV, Stuart (2001). The Emperor and the Wolf: The Lives and Films of Akira Kurosawa and Toshiro Mifune. USA: Faber and Faber. p. 362. ISBN0-571-19982-8.
^Galbraith IV, Stuart (2001). The Emperor and the Wolf: The Lives and Films of Akira Kurosawa and Toshiro Mifune. USA: Faber and Faber. p. 556. ISBN0-571-19982-8.
^Boorman, John (2004). Adventures of a Suburban Boy. Farrar, Strous and Giroux. p. 216.
^Galbraith IV, Stuart (2001). The Emperor and the Wolf: The Lives and Films of Akira Kurosawa and Toshiro Mifune. USA: Faber and Faber. pp. 291–292, 539–540. ISBN0-571-19982-8.
^Nogami, Teruyo (2006). Waiting on the Weather: Making Movies with Akira Kurosawa. Berkeley, CA: Stone Bridge Press Inc. p. 246. ISBN978-1-933330-09-9.
^Richie, Donald (1970). "Preface". The Films of Akira Kurosawa (2nd ed.). University of California Press. Retrieved January 9, 2020. the films of Akira Kurosawa... I am proud of other than with him.
^Galbraith IV, Stuart (2001). The Emperor and the Wolf: The Lives and Films of Akira Kurosawa and Toshiro Mifune. USA: Faber and Faber. p. 70. ISBN0-571-19982-8.
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