Asami Kuji, the Voice that Blossomed on the Silver Screen - Portrait of a Postwar Modern Actress (1950s-1970s)

Asami Kuji, the Voice that Blossomed on the Silver Screen - Portrait of a Postwar Modern Actress (1950s-1970s)

Asami Kuji (1922-1996) was an actress and singer from Takarazuka Revue. With her stage sense and singing ability cultivated at Takarazuka, she carved a new image of women on the postwar Japanese silver screen. In 1952, she signed an exclusive contract with Toho, and thereafter played the role of the "fearful wife" opposite Hisaya Morishige in the "President Series. In 1952, she signed an exclusive contract with Toho and played the role of "Horrible Wife" opposite Hisaya Morishige in the "President Series," establishing the image of a common and humorous woman. This series of 28 films became a mirror of postwar Japan's salaryman society. In addition, "Ore no Sora desete, Wakadaisho" (1970) was a series of 28 films! (1970), she played the role of a mother in a coming-of-age film, and her popularity transcended generations.

In one of her best-known films, "Ginza Kankan Musume" (1949), she symbolized hope in the postwar reconstruction period with her bright singing voice and urban appearance. The film was set against the glamorous backdrop of Ginza, which the common people adored, and her singing voice brightly painted the mood of the times. Kuji's presence is a good example of how movies were not only entertainment but also encouragement for people's lives.

Among actresses of her generation, while Takamine Hideko and Hara Setsuko represented the realism of Japanese cinema with their restrained performances, Kuji attracted audiences with her songs and humor. While Kinuyo Tanaka pursued deep human drama, Kuji brought cheerfulness and folkiness to the forefront, serving as a light-hearted illumination of everyday life. She was called, along with Chikage Awashima and Yuko Minami, the "Three Crows of Ginza" because she symbolized the glamor and femininity demanded by the times.

Asami Kuji retired from the movie industry in 1971, and since then has been active on television and stage. In her later years, she led a quiet life as a member of the Orthodox Church until her death in 1996. Her appearance on the silver screen was a mirror of what postwar Japan had lost and gained, and a testament to one of the few actresses who brought hope in song.