Hiromitsu Karasawa

Japanese: 唐沢弘光 - からさわひろみつ

...Okochi Denjiro, who starred in Ito's works from "Changhen" (1926) through the "Tadatsugu Tabi Nikki" trilogy, through the "New Edition of Ooka Political Affairs" trilogy (1928) and the "Continued Ooka Political Affairs" two-part series (1930), grew into a great star of "period dramas." Since their collaboration in "Gero," the camera of Karasawa Hiromitsu, who was hailed as a great pair, became known for his dynamic moving shots in which the camera "ran at a stretch, running on and on," along with the protagonist, who "exploded all his pent-up passions at once," and became famous, leading to the nickname "I Love Moving," a play on Ito Daisuke's name. He was a classmate of Itami Mansaku and haiku poet Nakamura Kusadao at the old Matsuyama Middle School, and published a coterie magazine with them. ...

[From Denjiro Okochi]

...After his first starring role in his first film, "Changing Regret" (1926), the pair produced such masterpieces as "Blood Spray at Takadanobaba," "The Wanderer Chuya," "The Rise and Fall of the Shinsengumi," and "The Custom-Made Jiroyoshi Koshi." Many of these were shot by Karasawa Hiromitsu, with Fushimi Naoe as co-star. In one of these films, "New Edition of Ooka Political Affairs" (1928), he played a double role alongside Ooka Echizen-no-kami as the one-eyed, one-armed, vain swordsman Tange Sazen. His role was particularly popular, and the film was made into a series. In the talkie "Tange Sazen" (1933), the line "Shay is Tange, his name is Shajen" became famous, and he played the role repeatedly until the 1950s. ...

From Chuji's Travel Diary

...According to Daisuke Ito's testimony ("Poetry and Truth of Period Films" edited by Tai Kato), Matsunosuke Onoe, a big star at Nikkatsu who was called "the executive" at the time, played the role of "honorable" Chuji in a chivalrous film, but this was initially opposed as a film about a "ruffian" Chuji. In order to realize the plan, they first shot a "meaningless" fight scene entitled "Part 1: Koshu Fighting", which was later cut out when they compiled the trilogy and re-edited it. "Part 3: Goyo" was the first film by Daisuke Ito and cameraman Hiromitsu Karasawa, a famous duo who would breathe new life into the period drama style and be called "the ones who love to move". It depicts the tragic downfall of Chuji Kunisada (Denjiro Okochi), a gambler from Joshu, who becomes a wanderer pursued by government officials, is betrayed by those around him, and falls into despair. ...

*Some of the terminology explanations that mention "Karasawa Hiromitsu" are listed below.

Source | Heibonsha World Encyclopedia 2nd Edition | Information

Japanese:

…《長恨》(1926)から《忠次旅日記》三部作を経て，《新版大岡政談》三部作(1928)および《続大岡政談》二部作(1930)に至る伊藤作品に主演した大河内伝次郎は〈時代劇〉の大スターに育った。《下郎》で組んで以来，名コンビとうたわれた唐沢弘光のカメラによる〈鬱積した情念を一気に爆発〉させた主人公といっしょに，カメラが〈一気に走る，どこまでも突っ走る〉ダイナミックな移動撮影の妙技は評判となり，伊藤大輔の名まえをもじって〈移動大好き〉のあだ名が生まれた。　伊丹万作，俳句の中村草田男とは旧制松山中学校の同窓で同人誌を出した仲間である。…

【大河内伝次郎】より

…この作品の伊藤大輔監督とは，主演第1作《長恨》(1926)での決定的な出会い以降，コンビで《血煙高田馬場》《素浪人忠弥》《興亡新撰組》《御誂次郎吉格子》などの名作を生んだ。その多くは撮影が唐沢弘光，共演が伏見直江である。その中の1作《新版大岡政談》(1928)では，大岡越前守とともに片目片腕の虚無的な剣客丹下左膳を二役で演じたが，左膳役がとりわけ人気を呼んで，作品はシリーズ化され，トーキー作品《丹下左膳》(1933)では〈シェイは丹下，名はシャジェン〉というせりふ回しが有名となり，以後，1950年代まで繰り返し演じた。…

【忠次旅日記】より

…伊藤大輔の証言によれば(加藤泰編《時代劇映画の詩と真実》)，当時，日活の〈重役さん〉と呼ばれた大スター尾上松之助が，〈仁義に富んだ〉忠次を演じた任俠映画に対して，これは〈無頼漢〉の忠次映画であるとして当初，反対されたため，企画を実現するためにまず初めに〈第一部甲州殺陣篇〉と題する〈無意味な〉立回りを撮り，のちに三部作をまとめて，再編集をするとき切り捨ててしまったという。〈第三部御用篇〉は，伊藤大輔が唐沢弘光カメラマンと組み，〈移動大好き〉と呼ばれて時代劇のスタイルに新風を吹き込むことになる名コンビの第1作である。　上州の博徒国定忠次(大河内伝次郎)が，役人に追われて流浪し，周囲の人間に裏切られ，落ちていく悲劇を描く。…

※「唐沢弘光」について言及している用語解説の一部を掲載しています。

出典｜株式会社平凡社世界大百科事典第２版について | 情報

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