A few performers become so tightly associated in the public mindset with a specific role that the one turn overshadows and obfuscates the remainder of their career. This is particularly true of Japanese actress Kyoko Kishida. In the West, most film buffs and historians will forever associate Kishida with her contribution to the seminal arthouse classic… More Bio:
A few performers become so tightly associated in the public mindset with a specific role that the one turn overshadows and obfuscates the remainder of their career. This is particularly true of Japanese actress Kyoko Kishida. In the West, most film buffs and historians will forever associate Kishida with her contribution to the seminal arthouse classic A Woman in the Dunes (1964), directed by Hiroshi Teshigahara. They thus remember Kishida as something of a cinematic "one-hit wonder." But, with dozens of cinematic turns to her credit (several in legendary Japanese arthouse films), Kishida was no Renée Maria Falconetti. Instead, she qualified as a highly versatile, dynamic performer, graced with a striking, stirring onscreen presence, who traversed many a cinematic landscape with delicate finesse.
Born in Tokyo in 1930, Kyoko was the daughter of Japanese playwright Kunio Kishida -- a protégé of Henrik Ibsen and Anton Chekhov who investigated, dramatically, the Japanese plight of poor psycho-social adjustment. Kyoko Kishida balanced a strenuous workload throughout her life, with roles in over 90 Japanese films, of which a handful are most important. She debuted in 1958, as Sakie in Yasuzo Masumura's crime drama Futeki na Otoko. Three years later, she essayed the part of Ryuko in Masaki Kobayashi's mammoth Ningen no Joken III (aka The Human Condition, Part III), a meditation on the human incivility and animalism that rear their heads when men march off to the battlefield. Kishida also delivered a memorable supporting turn in the November 1962 release Watashi Wa Nisai (aka Being Two Isn't Easy), a bittersweet paean to family life and new parenthood directed by Kon Ichikawa, about a mom and a dad struggling through a series of domestic calamities in an effort to raise their two-year-old son; Kishida plays the best friend of the mother, Chiyo (Fujiko Yamamoto).
That same year, Kishida collaborated with the greatest Japanese cinematic visionary of the 20th century, Yasujiro Ozu, for the director's Samma no Aji (aka An Autumn Afternoon), also released during November of 1962. That film, however -- a light comedy drama about the familial dynamics between a widower and his three children -- only features Kishida in a bit part as a barmaid. She maintained a much higher profile for 1964's Manji (aka All Mixed Up), a sex comedy that reunited her with director Masumura. In that picture -- relentlessly bold and shocking for its time -- Kishida stars as Sonoko Kakiuchi, a housewife who becomes uncontrollably obsessed with another woman (Ayako Wakao).
As previously noted, Kishida also made her most enduring impression during the year of 1964 -- that of the titular unnamed character in Teshigahara's eccentric and haunting allegory Woman in the Dunes. The picture casts the actress as a mysterious prisoner of a sandpit who bears the Sisyphean burden of endlessly digging sand out of a hole for use by the local villagers; she soon entraps a local entomologist in the pit, induces the man into an affair, and conceives a child with him. Shot and produced on a budget of only 100,000 dollars, this gentle and haunting erotic fable deservedly won the 1964 Cannes Film Festival Special Jury Prize and received an Academy Award Nomination for Best Foreign Language Film. It is now regarded as a seminal, vital cinematic work.
Kishida played a nurse who treats a victim of facial disfigurements in Teshigahara's well-received 1966 psychological horror piece Tanin no Kao (aka The Face of Another), a film that reveals heavy thematic influence by Georges Franju's Eyes Without a Face. The actress continued to work throughout the 1970s and '80s in such films as Vixen (1970), Utamaro's World (1977), Nippon No Don-Yabohen (1978), and Haru no Kane (1986), but most of these features, for some unknown reason, failed to reach the West. The same cannot be said of 1987's Taketori Monogatari (Princess from the Moon), a comparatively popular Japane
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