Kenji Oyama

Kenji Oyama

Acting

February 8, 1904
Fukushima Prefecture, Japan
99 movies

Biography

Kenji Ōyama ( February 8 , 1904 – 1970 ) was a Japanese actor. he played the role of a large, good-natured student in the films made at Shochiku Kamata and Ōfuna studios in the 1920s and 1930s and his appearance was described as "a pleasing addition to Shochiku's youth entertainment films. " Description above from the Wikipedia article 大山健二, licensed under CC-BY-SA, full list of contributors on Wikipedia.

🎬 Kenji Oyama's Filmography

99 movies sorted by popularity

The Loyal 47 Ronin

This 1932 adaptation is the earliest sound version of the ever-popular and much-filmed Chushingura story of the loyal 47 retainers who avenged their feudal lord after he was obliged to commit hara-kiri due to the machinations of a villainous courtier. As the first sound version of the classic narrative, the film was something of an event, and employed a stellar cast, who give a roster of memorable performances. Director Teinosuke Kinugasa was primarily a specialist in jidai-geki (period films), such as the internationally celebrated Gate of Hell (Jigokumon, 1953), and although he is now most famous as the maker of the avant-garde silent films A Page of Madness (Kurutta ichipeji, 1926) and Crossroads (Jujiro, 1928), Chushingura is in fact more typical of his output than those experimental works. The film ranked third in that year’s Kinema Junpo critics’ poll, and Joseph Anderson and Donald Richie noted that 'not only the sound but the quick cutting was admired by many critics.

The Loyal 47 Ronin

1932
The Bride Talks in Her Sleep
7.0

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.

The Bride Talks in Her Sleep

1933
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