Original subtitles

Digitised from duplicate picture and sound negatives

preserved by the National Film Archive of Japan.

Over twenty years ago, Dr de Forest gave the silent film a voice.

People sat before the screen as if watching a wondrous magic show.

In those days, our film industry's pioneers...

worked with rudimentary equipment and meagre financial resources.

Japanese cinema was still deeply feudal,

yet they struggled bitterly to create a new art.

This classic is from the dawn of Japanese talkies,

produced in the early Showa era under Hōzō Minagawa.

We prepared this newly revised edition...

so that we may honour...

the pioneers whose achievements adorn the history of Japanese cinema.

A Mina Talkie production.

Yoshie Fujiwara in Hometown Directed by Kenji Mizoguchi

YOSHIE FUJIWARA In a Special Appearance

Story and Scenario by Iwao Mori, Bin Kisaragi & Shūichi Hatamoto

Cinematography: Tatsuyuki Yokota Sound recording: Yoshikatsu Urashima

THE CAST: Isamu Kosugi, Heitaro Doi, Kōju Murata, Kunio Tamura,

Shizue Natsukawa, Fujiko Hamaguchi, Taeko Sakuma, Aiko Takatsu, L. Shapiro

♪ Rachmaninoff: ‘Vocalise,’ Op. 34, No. 14 ♪

Maestro! Maestro!

Oh, what a lovely voice!

Yes, yes!

Everyone is here, I see!

Maestro! Maestro!

Were you singing on deck just now?

- Wonderful! - Marvellous! - It was truly lovely.

Well, I have had some vocal training.

Was I really that good?

After all, I studied in Italy for four whole years.

I was so moved that I cried.

Whenever I hear that song, I miss Japan terribly.

It is my favourite song.

Hello? Yes? Who is this?

Oh, Mr Hattori!

About your concert...

I asked Mr Omura for substantial financial help.

I shall introduce you to his daughter.

Be prepared, and mind that you make no blunders.

What? Mr Omura's daughter?

I'll be waiting, and I'll mind my manners.

So, you heard?

That will pay for your next recital.

A cheque for two thousand yen!

With the right backing, even an unknown...

can take the stage and become a sensation.

What an amusing age we live in!

In the musical world, the only men capable

of rivalling my voice are Chaliapin and John McCormack.

You there! Hey, you!

♪ The home of those two lies beyond that mountain… ♪

♪ …in a village filled with flowers.♪

♪ When shall they see the blossoms again? ♪

Come in!

Rather convenient, isn't it?

Listen, Aya. Had I not been poor and stuck in a third-class room here,

you would never have sewn buttons onto my clothes.

- Are you angry, Aya? - No.

I count myself fortunate to have worked here.

After all, it was only because I worked here that I met you.

Now, now. You mustn't do that.

Go and practise your singing.

- Do you hear? - Yes, yes.

♪ Scolded, scolded... ♪

♪ One child is sent into town to run an errand; ♪

♪ another must hush the baby to sleep. ♪

♪ At dusk, on the lonely edge of the village, ♪

♪ a fox cries mournfully: ‘Kon!’ ♪

On his homeward journey, he was a fellow passenger of mine;

but—to tell an old story—he was a singer on the third-class lower deck.

There's no shame in being poor.

Even if something should happen to dishearten you…

Always seek what is true.

Take courage and never abandon hope.

Keep moving forward—you hear?

Thanks. I believe in my ability.

I'll pluck up my courage.

Hello, Fujimura!

Fujimura! Good of you to come.

I was worried. I hadn't heard a word from you.

You must have worked hard at your studies.

They recognised you abroad, didn't they?

I performed at the national concert halls in Paris and London.

I have confidence in myself,

but I cannot get a chance over here.

I work for a newspaper.

I'll help however I can.

Will you? Thank you so much.

Look at Sato Misao.

He made his name with nothing but a gimmick.

Get a grip. You have genuine talent and confidence.

Mr Fujimura—!

Ah, Mr Omura! You studied piano.

We met in Germany, did we not?

What a memory! When did you come home?

I've heard nothing of your concerts.

I was just auditioned upstairs, but—

I know a good manager, so come along with me. I’ll introduce you.

Must you really leave the hotel?

Is your mind firmly made up?

I am going to marry that man.

With a man like that, who cannot even pay his rent?

Life in this world is entirely about money. Look at Mr Sato,

who moved into the Imperial Hotel yesterday. He is no singer at all, but…

How could his 'fame' reach that company?

How could he possibly make you 'happy'?

♪ “Du bist die Ruh” — Schubert ♪

Oh, absolutely magnificent!

Is that true?

The manager of the Shōwa Hotel is a very fine gentleman, isn't he?

You are still a terribly short-sighted woman, aren’t you?

It is no good if you cannot sing a Japanese song.

Do you know one?

Try something for me.

This one.

♪ In my homeland, ♪

♪ amidst a little grove, ♪

♪ the sound of a flute... ♪

♪ softens the moonlit night. ♪

♪ A young maiden, ♪

♪ her heart aflame, ♪

♪ hears its song... ♪

♪ and sheds her tears. ♪

♪ Ten years have passed. ♪

♪ With the same heart, ♪

♪ do you still weep... ♪

♪ now that you are a mother? ♪

Ah, wonderful! Remarkable indeed. I’m quite captivated.

You are a rare genius.

From now on, you must do exactly as I tell you.

Making your debut is what matters.

- Understand? - Yes, sir.

Congratulations!

It was a great success.

- Never have I heard its equal! - Thank you.

What a splendid money-maker has walked into this shabby office!

Business, business!

OUR OWN TENOR, YOSHIO FUJIMURA,

SINGS “IN MY HOMELAND.”

We have been broadcasting to you from the Imperial Hotel.

A throng of red lips surrounds the young singer.

Upon whom will love’s white arrow fall?

Mama, may I stay at the hotel tonight? Once the recital is over,

there will be a dinner party and dancing until very late, you see.

Since you have no papa, I generally keep quiet and consent to whatever you ask, but…

You really must find yourself a husband soon—or else...

I can raise no more money. Make Misao Sato a star again—please!

You think the musical world will accept that croak of yours again?

I’ll keep this money for the headache you’ve given me!

♪ Boom! Boom! Boom! Over waves we go— one, two, three—eight oars pull! ♪

♪ The waves test us, crashing head-on— boom, boom, boom! ♪

If Fujimura means to settle down

instead of seeking new horizons,

he’ll soon lose his public.

♪ Heave-ho! The arms that pull the oars are made of finest iron. ♪

They say she joins him in drinking, smoking, dancing—even his love affairs!

We must free him from the salons and bring him out into the streets!

They say Fujimura spends nearly all his time with Natsue Omura these days.

We can’t place the future on Daisuke’s shoulders.

Fujimura’s behaviour is intolerable.

I marvel at your patience!

It is not some sentimental question of ‘putting up with it.’

It makes me think about Fujimura’s future.

Before it is too late, Fujimura must be made to mend his ways.

Who was wearing this coat?

The gentleman in Room Eighteen.

Hey! Hello! Hello!

Ah, I'm exhausted!

Marriage is a dreadful constraint.

His poor wife could not bear it any longer.

My part in this is over, isn't it?

What an ordeal!

But I only did it to make Fujimura see sense.

Even a worthless fellow like me can sometimes tell the truth.

I like both Fujimura's singing and the man himself.

People certainly do change.

The Fujimura who stayed at the Showa Hotel...

is very different from the famous Fujimura of today.

You seem awfully down. What’s the matter?

Hear, hear! To the star of high society!

We cannot leave our tenor in such distress.

It would be a great loss to the musical world.

Don’t you agree, gentlemen?

Come, have a drink and cheer up.

An artist shouldn’t brood over such trifles!

Oh, darling! Welcome home.

Mr Fujimura, to tell you the truth,

I think I shall no longer concern myself

with arranging your concerts.

I waited here to tell you so.

Your wife seems to resent my involvement in your career.

She is deeply displeased by it.

No, that isn't true.

I am only concerned for his health and future.

I merely asked him to change his way of life.

Are you angry about what happened earlier?

It is understandable if you are.

But if I explain,

I am sure you will understand.

You won't fool me with that!

Fujimura, needless to say, I am your manager.

A wife who cannot understand her husband's work...

will only damage your popularity in society,

and dampen your spirits at home.

I told you: making you a star comes first.

You must do whatever I tell you.

Tonight I planned to take you to Mr Yamamura's reception.

I have been waiting to escort you there.

What do you say?

Darling, you're angry about what happened at the hotel.

I did it deliberately.

Don't be absurd!

I never thought you would broadcast our private affairs to everyone.

Darling!

Yoshio, our outlooks on life have grown too far apart.

Nothing precious remains between us.

I fear that if things continue this way I shall

only stand in the way of the life you have chosen.

I shall always treasure our pure and beautiful memories.

From now on, I shall not see you again. Yours sincerely, Ayako.

J-O-A-K. J-O-A-K.

This is the Tokyo Broadcasting Station.

We now present our weekly entertainment broadcast.

Today's programme is a solo recital.

The performer is tenor Yoshio Fujimura.

Piano accompaniment: Lydia Shapiro.

Our first song is “The Sailor's Song,”

composed by Kiyomi Fujii.

♪ How still the tide beneath the rising moon— ♪

♪ The boundless sea lies sleeping. ♪

♪ Come, friend—as in so many autumns past, ♪

♪ once more beside the battered gunwale, ♪

♪ let us softly play our flute. ♪

After all your concern for Fujimura,

has he still not come to his senses?

Once you get addicted to that sort of thing,

it seems awfully hard to shake.

I love her—but as long as I live,

I shall never forget how she made me suffer.

Why should I tell you that over and over again?

I do love her, that much is true.

ROMANCE IN THE AIR!

Divorced tenor Yoshio Fujimura -

and the much-talked-about Natsue Ōmura -

Are they headed for marriage?

Do hurry back. What are you all doing?

Everyone, gather round!

There’s already quite a crowd.

Go on ahead and wait for me.

You wouldn’t want to end up like Misao Sato, would you?

“HOMETOWN” Sung by our tenor, Yoshio Fujimura

Very well—I’ll be waiting for you.

Our outlooks on life have grown too far apart.

Nothing precious remains between us.

If things continue this way, I shall only

stand in the way of the life you have chosen.

I shall always treasure our pure and beautiful memories.

From now on, I shall not see you again. Yours sincerely, Ayako.

"HOMETOWN" by Yoshio Fujimura

This evening, Yoshio Fujimura was travelling to a reception...

where he was due to give a solo performance.

Near Miyakezaka, a mechanical fault caused him to lose control.

The car struck a stone wall,

and Mr Fujimura was badly injured.

He was immediately taken from the scene to Keio Hospital.

Dr Ito, head of surgery, administered emergency treatment.

Fortunately, his life is not in danger.

But there are serious fears for his career as a vocalist.

This injury may have destroyed it.

His condition is being watched with grave concern. That is all.

Ayako has arrived.

What a nuisance.

Why not send her away?

Tell her to leave.

Say that she cannot see him.

I'm very sorry,

but the patient is critical.

Is there truly no way I can see him?

I am a very close relative.

Not until we have observed his condition tonight.

Let us wait somewhere nearby. Come, Ayako.

Please wait in the room over there.

Mr Fujimura is critically ill. Let us wait over there.

We cannot say anything definite until we see how tonight goes.

If you return tomorrow morning, we may have an answer for you.

Will I never be able to sing again?

You will sing again. You'll be all right. Don't worry.

If anything happens to Fujimura now, it will be a disaster.

It will have a dreadful effect on my pocketbook...

and especially my bank account. I can hardly breathe!

You don't care about his health. You only want to squeeze him dry!

Business is business.

Are you Miss Ayako?

The patient keeps calling your name.

You should have said so sooner!

Ayako...

Ayako!

Ayako please!

Darling! It's Ayako.

Why did you come?

I don't want to see you.

- Go away! - But you were calling my name.

What’s to become of me now?

Go home!

Darling!

Darling!

Doctor! The patient is terribly agitated.

Good morning, Doctor. How is he?

What is his condition?

Will he be able to return to the stage?

His health directly affects my bank account, you see.

He appears to have recovered somewhat,

but he has a severe contusion to the chest.

Ayako...

Ayako, after all, you are the one I...

You are the woman called Ayako?

Your presence here is very bad for the patient.

Miss Omura has asked that you leave.

Please go home.

It's fine.

She is Mr Fujimura's wife!

Don't speak to her like that!

Mr Fujimura himself told her to leave.

You shameless little hussy!

How dare you speak like that!

You insolent, despicable wretch!

Damn it! If my cash cow is ruined, I'm finished!

What are you saying?

The chest injury means that he cannot sing.

Is that really true?

Yes. Audiences soon move on.

He will never make a comeback. This is the end.

Free at last from Hattori and Natsue Omura and their interests, I can sing again.

I’ve suffered financially, but I finally understand what you tried to tell me.

She truly cared about your future.

You’ll never find anyone more devoted to you.

Where is she now?

I wronged her terribly over a foolish misunderstanding.

Even if I went to her now, she probably wouldn’t see me.

From now on, I shall not see you again. Yours sincerely, Ayako.

All that matters to me is singing!

We shall devise a plan for you!

Hurry! Please go to Ayako— go and see her!

Ayako!

Ayako!

Ayako!

Ayako, forgive me for ever doubting you.

Miss Omura and that manager, Hattori...

dragged me about as material for vanity, romance and profit.

I was a fool to sing for them.

They no longer control me.

Be happy for me.

At last, I can sing again.

Darling... Is it true?

Darling, that is what I believe.

You believe it too, don't you?

Isn't that so?

You have come back to life.

Until now, people treated you as little more than a plaything.

From now on, you must become a stronger, greater man.

Your singing must serve people throughout the world,

bringing them true joy and enriching their lives.

That's enough.

Fujimura, at last you have found...

a new life upon the stage!

Sing! Sing for us!

♪ In my home village…♪

♪ Among the trees of the little grove... ♪

♪ The sound of a flute... ♪

♪ Mists the moonlit night. ♪

♪ A young maiden... ♪

♪ with passion in her heart... ♪

♪ She listened to it... ♪

♪ and shed tears. ♪

♪ Ten years have passed.... ♪

♪ With the same heart... ♪

♪ do you still weep, ♪

♪ even now that you are a mother? ♪

Horrible... I said horrible...

I said such horrible things...

Don't cry... I won't cry...

Encore! Encore!

♪ Boom, boom, boom— over the waves we go. ♪

♪ One oar, two, three— eight oars send her flying. ♪

♪ Suddenly, a whale's spout shoots up; ♪

♪ beyond the spray, the morning sun dances.

♪ Heave-ho, heave-ho, heave-ho ♪

♪ The arms that drive the oars... ♪

♪ are made of the finest splendid iron. ♪

♪ And that iron, the waves would test…♪

♪With a crash they strike head-on — boom, boom, boom, they strike head-on. ♪

♪ The sail-rope against the wind… ♪

♪ Turn the helm, and the bow dances. ♪

♪ Throw yourself upon the dancing bow, ♪

♪ My dream returns to the harbour from which we sailed.♪

THE END

Yoshie Fujiwara’s Hometown Subtitles by Assilem23 @ KG 2026

The first of Kenji Mizoguchi's three films on women's liberation,

Victory of Women.

The first of Mizoguchi's trilogy on the performing arts,

The Story of the Last Chrysanthemums, digitally restored.

This August, Satellite Theatre marks the war's end...

with films about war by noted social-realist Miyoji Ieki.

Ieki depicts the final wishes of young kamikaze pilots...

in Beyond the Clouds, starring Koji Tsuruta.

A literary epic portraying a family's collapse...

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At war's end, a teacher fights to feed evacuated pupils...

in All Our Children.

War films by Miyoji Ieki, fifty years after his death.

A choice line-up for hours of pleasure.

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Tokyo Taxi, television premiere.

A tribute to Chieko Baisho, Japan Academy's Best Actress.

Bakufu-Slump's Battle Heater.

Yukari Usami in V. Madonna: War of the Day After.

Momoko Kikuchi in Find the Idol.

A Junko Miyashita retrospective of passion and artistry.

Hibari Misora, the eternal songstress.

War films by Miyoji Ieki, and a Kenji Mizoguchi season.

Rediscovered films.

The ever-popular Tora-san.

The Free and Easy series.

Rare treasures from the vault, only on Satellite Theatre.

Reserve Satellite Theatre.