Writing

Akira Fushimi

Born June 18, 1900

Died September 27, 1970 · aged 70

No biography available.

Known For

Moon of the PlateauMoon of the Plateau · 1942
Moon of the Plateau
1942
Movie
An older sister and brother (Mieko Takamine and Masayoshi Otsuka) come to visit their grandfather (Takeshi Sakamoto) who lives deep in the mountains. As for their parents, father was serving in the South Seas and mother died of illness on her way home. So, the brother, who is still young, will live alone with his grandfather whilst the sister goes away to study to become a teacher.
Treasure MountainTreasure Mountain · 1929
Treasure Mountain
10.01929
Movie
A young man falls for one of the geisha working in the house where he lives. However, the romance doesn't find favour with his father or current girlfriend. Considered to be a lost film.
The Bride Talks in Her SleepThe Bride Talks in Her Sleep · 1933
The Bride Talks in Her Sleep
7.01933
MovieComedy
This pair of gentle yet witty and inventive comedies from the director of The Neighbour's Wife and Mine typify both the formal experimentation of early Japanese sound cinema and the social milieux that Shochiku tended to depict. 'Virtually plotless, and feeling more like comic sketches than fully developed stories,' writes Arthur Nolletti, Jr, 'these light comedies, or farces, take a wholly trivial matter (often a socially embarrassing situation) and use it as a springboard for a succession of gags.' Much of the films' distinction comes from the wit of Gosho's direction, the imaginative use of the new sound technology and the charm of the acting, particularly of the heroines (Kinuyo Tanaka in Bride; Hiroko Kawasaki in Groom). Yet in both films, Gosho finds room for some shrewd observation of character and environment, subtly exploring the values and assumptions of the suburban petit bourgeoisie.
Wood and StoneWood and Stone · 1940
Wood and Stone
6.71940
MovieDrama
Movie about a devoted and single woman and her daughter. The mother's nickname is "Bokuseki" (wooden head) because of his supposed stubbornness. No.10 in the list of "The 10 best films of 1940" by Kinema Junpo.
An Angel Dreams TooAn Angel Dreams Too · 1951
An Angel Dreams Too
1951
Movie
Physical BeautyPhysical Beauty · 1928
Physical Beauty
10.01928
MovieComedy
A hen-pecked man works as his artist wife's model and a house-husband. When her patron flirts with her and humiliates him, he decides to get revenge by trying his own hand as a painter. Considered to be a lost film.
I Was Born, But...I Was Born, But... · 1932
I Was Born, But...
7.61932
MovieComedyDrama
Brothers Keiji and Ryoichi move to a new neighborhood in the Tokyo suburbs after their father, an office clerk, is promoted. The boys join the local gang as lowly new kids and emerge as natural leaders after defeating a bully. While visiting the home of their father's boss, the brothers witness the ridicule their father endures to please his superior. Angry and embarrassed, the boys find their naive ideas about power being challenged.
The Neighbour's Wife and MineThe Neighbour's Wife and Mine · 1931
The Neighbour's Wife and Mine
6.61931
MovieDramaComedy
A playwright moves to a rural neighborhood to avoid the distractions of the city, but he discovers there are plenty of ways to get sidetracked in his new home, too.

Filmography

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The Bride Talks in Her SleepThe Bride Talks in Her Sleep · 1933
The Bride Talks in Her Sleep
7.01933
MovieComedy
This pair of gentle yet witty and inventive comedies from the director of The Neighbour's Wife and Mine typify both the formal experimentation of early Japanese sound cinema and the social milieux that Shochiku tended to depict. 'Virtually plotless, and feeling more like comic sketches than fully developed stories,' writes Arthur Nolletti, Jr, 'these light comedies, or farces, take a wholly trivial matter (often a socially embarrassing situation) and use it as a springboard for a succession of gags.' Much of the films' distinction comes from the wit of Gosho's direction, the imaginative use of the new sound technology and the charm of the acting, particularly of the heroines (Kinuyo Tanaka in Bride; Hiroko Kawasaki in Groom). Yet in both films, Gosho finds room for some shrewd observation of character and environment, subtly exploring the values and assumptions of the suburban petit bourgeoisie.

Writer