Uchida Tomu was born in the city of Okayama, Okayama Prefecture on April 26, 1898 to a family of confectionary makers. After dropping out of high school and spending time as a piano tuner in Yokohama, Uchida worked on and off for the Taisho Katsuei Motion Picture Company founded in May 1920. Nicknamed Tom by his gang, he took the stage name Tomu and became an actor, also serving as an assistant director, assistant cameraman and stagehand. Uchida joined the Makino educational films (Makino Kyoikueiga Seisakusho) in Kyoto, and directed his first film Aa, Konishi Junsa (Police Officer Konishi, 1922) with Kinugasa Teinosuke; however, his innate wanderlust soon had him off traveling around Japan, mixing with the people at the bottom of the social ladder. In 1926 he went to work for Nikkatsu, making his proper directorial debut with Kyoso Mikkakan (Three Days of Competition, 1927). Following his early light comedies, Uchida went on to make the socialist leaning… read more
Uchida Tomu was born in the city of Okayama, Okayama Prefecture on April 26, 1898 to a family of confectionary makers. After dropping out of high school and spending time as a piano tuner in Yokohama, Uchida worked on and off for the Taisho Katsuei Motion Picture Company founded in May 1920. Nicknamed Tom by his gang, he took the stage name Tomu and became an actor, also serving as an assistant director, assistant cameraman and stagehand. Uchida joined the Makino educational films (Makino Kyoikueiga Seisakusho) in Kyoto, and directed his first film Aa, Konishi Junsa (Police Officer Konishi, 1922) with Kinugasa Teinosuke; however, his innate wanderlust soon had him off traveling around Japan, mixing with the people at the bottom of the social ladder. In 1926 he went to work for Nikkatsu, making his proper directorial debut with Kyoso Mikkakan (Three Days of Competition, 1927). Following his early light comedies, Uchida went on to make the socialist leaning “tendency film” Ikeru Ningyo (A Living Puppet aka A Living Doll, 1929) and the satirical comedy Adauchi Senshu (The Revenge Champion, 1931), before earning high acclaim for a succession of cinematic masterpieces with their roots in a distinctive style of realism, including Jinsei Gekijo (Theater of Life, 1936), Hadaka no Machi (The Naked Town) and Kagirinaki Zenshin (Unending Advance) both made in 1937; and Tsuchi (Earth, 1939). In 1945, Uchida traveled alone to China to join the Manchuria Film Association (Man’ei), remaining after the war as a technical advisor for Chinese cinema. In 1953 he returned to Japan and resurrected his Japanese film career with Chiyari Fuji (A Bloody Spear at Mt. Fuji) made in 1955, and continued to be an enthusiastic and prolific filmmaker, mainly for Toei. After bringing to the screen the roman-fleuve novels Sword in the Moonlight (1957–59) and Miyamoto Musashi (1960-65) and moving close to the world of the classics starting with Abarenbo Kaido (The Horse Boy, 1956), Uchida released what was to become his lifelong masterpiece Kiga Kaikyo (A Fugitive from the Past, 1964), propelling him into the Japanese cinema élite. Uchida Tomu was struck down by stomach cancer during the filming of his final film Shinken Shobu (Swords of Death, 1971), and died on August 7, 1970. —Toyko FilmEx catalogue, November 2004
