WORKING SHINDO SCRIPTS
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Shindo was one of the pioneers of independent film production in Japan, co-founding his own film company Kindai Eiga Kyōkai with director Yoshimura and actor Taiji Tonoyama in 1950. He continued working as a screenwriter, director, and author until close to his death at the age of 100.
In 1933, Shindo, then living with his brother in Onomichi, was inspired by Sadao Yamanaka's film Bangaku No isshō to want to start a career in films. He saved money by working in a bicycle shop and in 1934, with a letter of introduction from his brother to a policeman in Kyoto, he set off for Kyoto. After a long wait, he was able to get a job in the film developing department of Shinkō Kinema,[6] which he joined because he was too short to join the lighting department.[7] He was one of eleven workers in the developing department, but only three of them actually worked, the others being members of the company baseball team.[7] At this time he learned that films were based on scripts because old scripts were used as toilet paper. He would take the scripts home to study them.[1][7] His job involved drying 200-foot lengths of film on a roller three metres long and two metres high, and he learned the relationship between the pieces of film he was drying and the scripts he read.[7]
Shindo wrote a lot of film scripts, which were severely criticized by his friends, but he persisted.[7] He submitted a script called Tsuchi o ushinatta hyakushō, about a farmer who loses his land due to the construction of a dam, to a film magazine and won a prize of 100 yen, four times his then monthly salary of 25 yen. However, the script was never filmed.[1]
By the late 1930s he was working as an assistant to Kenji Mizoguchi on several films, most notably as chief assistant director and art director on The 47 Ronin.[8][9] He submitted scripts to Mizoguchi, only for Mizoguchi to tell him that he \"had no talent\" for screenwriting, events dramatized years later in Shindo's debut film Story of a Beloved Wife. His first realised screenplay was for the film Nanshin josei in 1940.[6] He was asked to write a script by director Tomu Uchida, but the script was never filmed due to Uchida's untimely military conscription.[1]
At the surrender of Japan, Shindo exchanged his uniform for cigarettes and made his way back to the Shochiku film studio at Ōfuna. The studio was deserted, and Shindo spent his time in the script department reading the surviving scripts.[citation needed]
In 1946, with a secure job as a scriptwriter at Shochiku, he married Miyo Shindo via an arranged marriage, and bought a house in Zushi, intending to start a family. At Shochiku, Shindo met director Kōzaburō Yoshimura. According to film historian Donald Richie, this started \"one of the most successful film partnerships in the postwar industry, Shindo playing Dudley Nichols to Yoshimura's John Ford.\"[11] The duo scored a critical hit with A Ball at the Anjo House in 1947.[6] Shindo wrote scripts for almost all of the Shochiku directors except Yasujirō Ozu.[7]
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THE ACCUSED - Jodie Foster gives the performance of her career as a working-class rape victim who insists on prosecuting all her tormentors. Jonathan Kaplan has directed the drama intelligently and imaginatively, capturing not only the events of the story but the nuances of American culture that spark such atrocities. Contains a graphic rape scene. (Rated R) BAT 21 - Gene Hackman gets shot down in Vietnam, and Danny Glover has to rescue him. The key performances are strong, and the action, based on real events, is reasonably suspenseful. Directed by Peter Markle, who gives the old war-story format a lot of energy without transcending it or coming up with any real surprises. (Rated R) THE BOXER AND DEATH - Powerfully filmed story of a Czech prizefighter who's allowed to stay alive in a Nazi concentration camp because the commandant needs a sparring partner. Made in 1962 by Czech director Peter Solan, who turns the drama into a brooding study of power relationships and the urge to survive under the most tormenting circumstances. (Not rated) FILM ACTRESS - A dramatized biography of movie actress Kinuyo Tanaka, who entered the Japanese cinema during the legendary period when filmmaking giants like Kenji Mizoguchi and Yasujiro Ozu still had active careers. Directed by Kon Ichikawa, who tells the tale too languidly but punctuates it with evocative images. Kaneto Shindo collaborated with Ichikawa on the screenplay. (Not rated) THE LAIR OF THE WHITE WORM - It's kind of a dragon, really, and it likes a human sacrifice every now and then. At times this loony yarn is close to hysterical in the sex-and-violence department, but cinematically it's director Ken Russell's most coherent work in years. He also wrote the screenplay, which is based on a novel by ``Dracula'' author Bram Stoker and full of deliberate howlers. (Rated R) MADAME SOUSATZKA - She's a piano teacher who gives her all to her pupils, including the young Indian prodigy who's her brightest new hope; and she demands their all in return. Although the film is manipulative and anything but subtle, Shirley MacLaine turns a new corner in her career with her all-stops-out performance, and the story has a momentum that never quits. Directed by John Schlesinger. (Rated PG-13) MYSTIC PIZZA - Emotions run high in this Connecticut pizzeria, where three young women deal with boyfriends, parents, and peers. In all, it's ``Diner,'' female style. Directed by Donald Petrie from a blatantly manipulative screenplay that took four people to cook up. (Rated R) THINGS CHANGE - An aging cobbler finds himself spending some unexpected days with gangsters who need a favor from him. Joe Mantegna is wryly amusing as the story's main hoodlum, and Don Ameche is better yet as his befuddled new friend. But the screenplay, by David Mamet and Shel Silverstein, lacks the punch of Mamet's solo scripts; and the visual style of his film ``House of Games'' was more pungent. (Rated PG) 781b155fdc