Shôhei Imamura
Director

Shôhei Imamura Net Worth

Shohei Imamura was a Japanese director, writer, and assistant director who was part of the New Wave movement in Japan. He was known for his exploration of the lower classes and taboo themes, such as incest and superstition. His films often focused on the primitive and spontaneous aspects of Japanese life, and his heroines were often strong and resilient. Imamura won the Palme d'Or at the Cannes Film Festival for Narayama bushikô (1983). He often used real people in his films, such as a 40-year-old former prostitute and a non-actress bar hostess, to capture what is real in Japanese society. His films offer a unique perspective on the Japanese character, one that is more robust and intuitive than the "coldly efficient" stereotype.
Shôhei Imamura is a member of Director

Age, Biography and Wiki

Who is it? Director, Writer, Assistant Director
Birth Day September 15, 1926
Birth Place  Tokyo, Japan, Japan
Age 94 YEARS OLD
Died On 30 May 2006(2006-05-30) (aged 79)\nTokyo, Japan
Birth Sign Libra
Occupation director, screenwriter, assistant director, producer, actor
Years active 1951–2002
Awards Golden Palm 1983 The Ballad of Narayama 1997 The Eel Japan Academy Prize Picture of the Year 1980 Vengeance Is Mine 1984 The Ballad of Narayama 1990 Black Rain Japan Academy Prize for Director of the Year 1980 Vengeance Is Mine 1990 Black Rain 1998 The Eel

💰 Net worth: $100K - $1M

Biography/Timeline

1926

Imamura was born to a comfortably upper-middle-class doctor's family in Tokyo in 1926. For a short time after 1945, when Japan was in a devastated condition following the war, Imamura participated in the black market selling cigarettes and liquor. Reflecting this period of his life, Imamura's interests as a filmmaker were usually focused on the lower strata of Japanese society. He studied Western history at Waseda University, but spent more time participating in theatrical and political activities. He cited a viewing of Akira Kurosawa's Rashomon in 1950 as an early inspiration, and said he saw it as an indication of the new freedom of expression possible in Japan in the post-war era.

1951

Upon graduation from Waseda in 1951, Imamura began his film career working as an assistant to Yasujirō Ozu at Shochiku Studios on the films Early Summer (1951), The Flavor of Green Tea over Rice (1952) and Tokyo Story (1953). Imamura, however, was uncomfortable with the way Ozu portrayed Japanese society. While Imamura's films were to have a quite different style from Ozu's, Imamura, like Ozu, was to focus on what he saw as particularly Japanese elements of society in his films. "I've always wanted to ask questions about the Japanese, because it's the only people I'm qualified to describe," he said. He expressed surprise that his films were appreciated overseas.

1954

Imamura left Shochiku in 1954 for a better salary at Nikkatsu. There he worked as an assistant Director to Yuzo Kawashima and also co-authored the screenplay to Kawashima's Sun in the Last Days of the Shogunate. Much later he edited a book about Kawashima, entitled Sayonara dake ga jinsei da.

1958

In 1958, at Nikkatsu, Imamura made his first film, Stolen Desire. With this early tale of traveling actors, Imamura indulged in some of the controversial and eccentric themes that were to mark his career as a filmmaker. Nikkatsu, however, was not enthusiastic about his more radical tendencies, and forced him to make a series of lighter films with which he was not happy. Nishi Ginza Station was a comedy based on a pop-song. Endless Desire and My Second Brother were similar light fare that did not satisfy Imamura.

1961

His 1961 film, Pigs and Battleships was a wild and energetic story about the U.S. military base at Yokosuka and its relationship with lower elements of Japanese society. Shocked by the film and what they perceived as anti-American sentiments, Nikkatsu did not allow Imamura another project for two years. His next films, 1963's The Insect Woman and 1964's Unholy Desire showed no toning down of his style. With these three films, Imamura had established himself as a Director with a strong and unique vision, and one of the leading figures of the Japanese New Wave.

1965

To more freely explore themes without studio interference, he established his own production company, Imamura Productions, in 1965. His first independent feature was a free adaptation of Akiyuki Nosaka's 1963 novel about life on the fringes of Osaka society, The Pornographers.

1967

He next made his first venture into the documentary genre with 1967's A Man Vanishes. His 1968 film The Profound Desire of the Gods investigates the clash between modern and traditional societies on a southern Japanese island. One of Imamura's more ambitious and costly projects, this film's poor box-office performance led to a retreat back into smaller, documentary-like films for the next decade.

1979

History of Postwar Japan as Told by a Bar Hostess and Karayuki-san, the Making of a Prostitute were two of these projects, both focusing on one of his favorite themes: Strong women who survive on the periphery of Japanese society. Imamura returned to fiction with 1979's Vengeance Is Mine, though this film about a serial killer is based on a true story.

1997

His eldest son Daisuke Tengan is also a script Writer and film Director, and worked on the screenplays to Imamura's films The Eel (1997), Dr. Akagi (1998), Warm Water Under a Red Bridge (2001) and 11'09"01 September 11 (2002).

2002

Imamura played the role of a Historian in the 2002 South Korean film 2009 Lost Memories.

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