One year ago today, on March 8, 2016, I arrived in Japan for a four-week stay, a dream trip that I’d waited until my retirement to take. I’ve written about the trip in seven previous installments in the Japan Journal series, mostly from a film and pop culture orientation, but I had so much more material to cover that I decided to put together an album for the one-year anniversary using mostly previously unpublished photos covering the full span of my trip. I spent three weeks in Tokyo and one week in Osaka, with day trips from there to Kyoto and Nara. I took thousands of photos and had to spend a couple of days going through them. I’ve devised some broad categories with which to group them.
Around ten years after the end of World War II, Hollywood made a number of films that aimed to rehabilitate Japan’s image in American pop culture and give our new ally and onetime enemy a kinder, gentler makeover in the eyes of a public once stirred up to see Japan as barbarism incarnate. While there had been earlier Hollywood films shot in postwar Japan, beginning with the Humphrey Bogart vehicle, TOKYO JOE (1949) and the low-budget thriller TOKYO FILE 212 (1951), the years 1955-58 saw quite a wave of Hollywood productions filmed partly or entirely in Japan, all involving significant interaction between Americans and Japanese, including HOUSE OF BAMBOO, THREE STRIPES IN THE SUN, TEAHOUSE OF THE AUGUST MOON, SAYONARA, STOPOVER TOKYO, JOE BUTTERFLY, THE BARBARIAN AND THE GEISHA, and the film I’m covering today, ESCAPADE IN JAPAN.