Sotoji Kimura

[Vita ebbra] T int : Tipsy Life Scen : Keiji Matsuzaki F : Hiroshi Suzuki M : Mikiya Tachibana Mus : Kiyosuke Kanetsune, Kyosuke Kami, Ryozo Okuda Su : Koji Ichikawa Int : Musei Tokugawa (capo dell’azienda), Dekao Yokoo (capo della gang), Heihachiro Okawa (Asao), Hisao Yoshitani (lo sgherro), Kamatari Fujiwara (Tokukichi), Tokio Seki (padre di Asao), Sadao Maruyama (‘Runpen’, un vagabondo), Roppa Furukawa (Roppa), Shiro Otsuji (alcolizzato), Sachiko Chiba (Emiko), Eiko Aida (padrona della gelateria), Ryutaro Nakane Prod : Iwao Mori per P C L 35mm D : 77’ Bn 

T. it.: Italian title. T. int.: International title. T. alt.: Alternative title. Sog.: Story. Scen.: Screenplay. F.: Cinematography. M.: Editing. Scgf.: Set Design. Mus.: Music. Int.: Cast. Prod.: Production Company. L.: Length. D.: Running Time. f/s: Frames per second. Bn.: Black e White. Col.: Color. Da: Print source

Film Notes

The film generally regarded as Japan’s first true musical was also the first film fully produced by the pioneering studio P.C.L., a company founded specifically to take advantage of emergent sound technology. After a number of films in which the company had provided sound technology for other studios, Tipsy Life was the first film to be made entirely in-house.

P.C.L. worked in collaboration with a brewer’s firm, Dai Nihon Biru, who met the production costs of the film in full, and whose products are featured in the film in an example of the sophisticated and modern merchandising which was characteristic of the studio’s early work. The film is partially set in a beer hall, and its story concerns a beer seller at a train station and her relationship with a music student trying to create a hit song. While the “Kinema Junpo” reviewer was critical of the disconnected narrative, he praised the film’s novelty.

Director Sotoji Kimura had already worked on a sound film with Kawa muko no seishun (Youth Across the River, 1933), a proletarian story for which P.C.L. had supplied the sound. It was thus natural that they should turn to him to direct their first full-scale production. Star Sachiko Chiba was also cast on the basis of her appearance in Tomu Uchida’s film Sakebu Ajia (Asia Cries Out, 1932), for which P.C.L. had provided the sound, and was to become a company stalwart, and the studio’s first real star, appearing in such films as Tsuma yo bara no yo ni (Wife! Be Like a Rose!).

Copy From

The soundtrack has undergone noise reduction
The aspect ratio of the current print is 1:1.19, the standard ratio for Japanese early talkies, which existed from the end of the 1920s to around 1933