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Ishirō Honda [a] (Japanese: 本多 猪四郎 （ いしろう ）, Hepburn: Honda Ishirō, 7 May 1911 – 28 February 1993) was a Japanese filmmaker who directed 46 feature films in a career spanning five decades. [6]
A Farewell to the Woman Called My Sister (別れの茶摘歌 姉妹篇 お姉さんと呼んだ人, Wakare no chatsumi-uta shimai-hen: Oneesan to yonda hito) is a 1957 black and white Japanese film directed by Ishirō Honda. Production designer was Iwao Akune, [1] lighting technician was Yoshio Tanaka and sound technician was Sanya Yamamoto. [2]
Shinichi Sekizawa (関沢新一, Sekizawa Shin'ichi, June 2, 1921 – November 19, 1992) was a Japanese screenwriter noted for his immense contributions to several films by Ishirō Honda, including several classic Godzilla films.
In their biography of Honda, film historians Steve Ryfle and Ed Godziszewski note that the film features characters that challenge the status quo, noting that Nishida's arrival triggers conflicts paralleling "Japan's universal post-war identity crisis", stating, "old traditions versus modern thinking; doubts about arranged marriage and feudalistic customs; a generational gulf between ...
A Teapicker's Song of Goodbye (別れの茶摘歌, Wakare no chatsumi-uta) is a 1957 Japanese film directed by Ishirō Honda. [1]The production company being Toho Co, Ltd have also distributed another film called 'A Farewell to the Woman Called My Sister' - which was also released at the same time as 'A Teapicker's Song of Goodbye'.
Tomoyuki "Yūkō" Tanaka [4] (Japanese: 田中 友幸 （ ともゆき ）, Hepburn: Tanaka Tomoyuki, April 26, 1910 – April 2, 1997) was a Japanese film producer. Widely regarded as the creator of the Godzilla franchise, he produced most of the installments in the series, beginning in 1954 with Godzilla and ending in 1995 with Godzilla vs. Destoroyah.
The Man Who Came to Port (港へ来た男, Minato e kita otoko) is a 1952 Japanese film directed by Ishirō Honda. [1] It is based on the story Dance of the Stormy Waves by Shinzo Kajino . [ 1 ] The film was both produced and distributed by Toho , and released theatrically in Japan on November 27, 1952.
According to Honda, the film was made at a time when Toho was "trying everything out" which led to building a film around Chiyoko Shimakura. [4] Honda commented later on the era saying he "tried [his] best at whatever kind of thing would come my way instead of rejecting something that might not have been for me."