The film that tried to make Koreans see Imperial Japan as their “Omoni” (Mother): Inside the 1945 propaganda movie “Love and Vows" (愛と誓ひ, 사랑과맹세)

This is my review and analysis of a deeply unsettling Imperial Japanese propaganda film, Love and Vows (愛と誓ひ), which was screened in late May 1945 with the aim of reaching as many Koreans as possible in the final months of the war. The film was part of a larger effort to emotionally manipulate Koreans into sacrificing their lives for the Empire as Japan prepared for an Allied invasion. To ensure the message was driven home even to those who might have missed the screening, the authorities serialized a novelized version of the film’s story in the Gyeongseong Ilbo (Keijo Nippo) newspaper — I have transcribed and translated that version below. The entire film can still be viewed today, with Korean subtitles at the Korean Film Archive, or without subtitles on YouTube (where it has been uploaded by @날보라-l9u, a Korean vlogger who expresses misguided, revisionist views sympathetic to Imperial Japan). I have provided some links to key scenes in the YouTube video for reference as timestamps.

Shiraishi Keiko with her biological son Toyoo (left) and her adopted Korean son Kim Young-ryong (right).

In the final year of World War II, as Imperial Japan braced for an expected U.S. invasion of both the Japanese mainland and the Korean peninsula, it embarked on an all-out propaganda campaign to prepare the Korean population for what was intended to be a suicidal last stand. The authorities planned to mobilize nearly every able-bodied man, woman, and child into citizen militias under direct Imperial Army command to resist the Allies to the death. To convince the Korean people—many of whom were deeply resentful of decades of exploitation, abuse, and humiliation under colonial rule—to sacrifice their lives for Imperial Japan, the state turned to cinema as a powerful tool to appeal to emotion and instill the required mindset.

One of the centerpiece works of this effort was the propaganda film Love and Vows (愛と誓ひ), directed by renowned filmmakers Imai Tadashi (今井正) and Choi In-gyu (崔寅奎). This film was produced with the full backing of the Imperial Navy and the Governor-General’s Office. It ran for 1 hour and 14 minutes and featured an all-star cast including Takada Minoru (高田稔) as Editor-in-Chief Shiraishi, Takehisa Chieko (竹久千恵子) as Mrs. Shiraishi, Dok Eun-gi (독은기, 獨銀麒) as Lieutenant Murai, Kim Shin-jae (김신재, 金信哉) as Murai’s widow, and Shimura Takashi (志村喬) as Murai’s father.

Love and Vows was first shown at two invitational test screenings (試写会) at the Bumingwan Hall (府民館) in Seoul on May 23, 1945. Beginning on May 24, it was screened across theaters throughout Korea until June 1. Special group discounts were offered to neighborhood Patriotic Groups (愛国班) presumably so their leaders could explain the film’s propaganda message to the audience and, where necessary, translate the dialogue for those Koreans who did not understand Japanese.

The film’s narrative centers on Kim Young-ryong (김영룡), a Korean orphan raised by a Japanese foster family who becomes inspired to volunteer for the Imperial Navy after learning about a heroic Korean kamikaze pilot, Lieutenant Murai. In the early scenes of the film, Murai flies his Kamikaze plane into a U.S. aircraft carrier and make the news headlines (6:24). Murai is a thinly fictionalized version of the real-life Korean kamikaze pilot Matsui Hideo or In Jae-ung (인재웅, 印在雄) who died on November 29, 1944. The orphan visits Murai’s school, playground, and home, absorbing reverence for the deceased hero, and listens solemnly to Murai’s recorded final words on a vinyl record. The story is crafted to venerate Murai as a god-like figure, but also to present him as an accessible role model so ordinary Koreans could imagine themselves becoming suicide fighters for Imperial Japan. Indeed, Korean Kamikaze heroes dominate the pages of Gyeongseong Ilbo (Keijo Nippo) newspaper in 1945, and reverential, hagiographical accounts of their humble lives are published in exquisite detail to exalt them as role models for the Korean people. This is highly evocative of the personality cult dynamics seen in later North Korean propaganda. 

Stories of Korean orphans raised by adoptive Japanese parents were a common allegorical device in Imperial Japan’s colonial propaganda. These narratives framed Japan’s rule over Korea as the benevolent adoption of a troubled and wayward child — with Japan portrayed as the patient, magnanimous parent who takes in and raises the orphan despite his misbehavior or attempts to run away. Such imagery served to justify the brutal suppression of the Korean independence movement, casting it as the necessary discipline of a child who did not yet understand what was good for him. In Love and Vows, this theme is central: Young-ryong, the orphaned Korean boy, tries to run away, but the kindly Shiraishi forgives him, takes him back, and ultimately wins his loyalty by touching his heart. Shiraishi also does not shy away from using corporal punishment to beat Young-ryong for cowardice (1:05:29), as a way to shape him into an honorable Imperial soldier.

The plot also includes a speech to young Korean students by Shiraishi proclaiming that anyone, through effort and loyalty, can become as great as Murai. The film also features a Japanese teacher teaching an eager Korean student the motto 七生報国 (“even if I am reborn seven times, I will dedicate myself to serving my country each time”), attributed to medieval Japanese hero Kusunoki Masashige, and a quote from the Taiheiki: “Because it is the nature of battle, you should not necessarily judge the entire war by the outcome of a single skirmish (合戦の習にて候へば、一旦の勝負をば必しも不可被御覧),” encouraging Koreans to persevere despite Japan’s mounting defeats (21:14). 

The serialized short story version of the film that appeared in Keijo Nippo (京城日報) differs from the surviving film print in key ways. In the novel, the orphan’s indiscretion is getting drunk on whiskey, while in the surviving film, the orphan's indiscretion is sabotaging the fuel of a bus carrying Korean recruits. The emotional scene where the orphan cries out Omoni (어머니, “Mother”) in anguish at not being punished like the biological son—highlighting the message that Imperial Japan is a mother figure to Koreans—is absent in the surviving film, possibly because that copy was an early screen test that was not used for general release. This copy survived only because it was archived at the Tokyo National Film Center and later transferred to the Korean Film Archive before being uploaded to YouTube by @날보라-l9u. 

The authorities spared no expensive in ensuring this film would move Korean audiences. They enlisted top directors and actors and devoted scarce resources to create the special effects depicting the exploding U.S. aircraft carrier, to create a high-quality production capable of persuading Koreans on an emotional level to die for Imperial Japan. The story was calculated to instill loyalty, glorify self-sacrifice, and portray discipline from colonial masters as an expression of parental love—framing the empire as a caring Omoni for its Korean subjects. Coincidentally, North Korea similarly educates its citizens to call its Party their Omoni, promoting the song "당이여 나의 어머니시여 (The Party is My Mother)".

The film ends with Young-ryong holding hands with Shiraishi Keiko and Murai's widow Yeong-ja in a striking pose symbolizing Japanese-Korean unity (1:12:14), followed by a printed message, “Even today, divine falcons are sinking enemy ships to the bottom of the Pacific Ocean. Who will follow them and defeat the enemy? You will! You are going to do it! (神鷲は今日も敵を太平洋の底に沈めつつある。これに続いて敵を破るもの、それは君達だ。君達がやるのだ)” (1:13:56)

[Translation]

Gyeongseong Ilbo (Keijo Nippo) May 23, 1945
Long-Awaited Film “Love and Vows”
Preview Today at the Bumingwan Hall

Under the guidance of the Imperial Headquarters Navy Press Department and with the support of the Ministry of the Imperial Navy, the Korea Film Company began filming the naval motion picture Love and Vows on March 15. The production has now been completed. On the 23rd, two invitational preview screenings will be held at the Bumingwan Hall, one during the day and one at night.

This film depicts the spirit of the Korean Navy Volunteer Soldier System and dramatically portrays the true spirit of the Special Attack Units through an engaging story. It brims with warm humanity as unfortunate people help one another, aiming to revive the love that is apt to wither during wartime.

In summary: Kim Young-ryong (김영룡, 金英龍), a Korean orphan who lost his parents and siblings at a young age, was taken in by Editor-in-Chief Shiraishi of the Keijo Shimpo Newspaper out of compassion. While working as an office boy at the newspaper, he led a warm, peaceful life. Assigned to gather material for an article, he visited the home of Lieutenant Murai, a member of the Special Attack Forces. Together with Murai’s widow, Yeong-ja (영자, 英子), he walked to various places such as the classroom where Murai had studied (36:03), and the simple fields and riverbanks where Murai played as a boy. Upon returning, lost in quiet reflection, they found that a phonograph record had arrived, containing a recording of Murai’s voice on the night before his sortie (40:16).

“Now the time has come. Just as you instructed, I will go with a smile,” rang out Murai’s bright voice (41:42). Overwhelmed by a solemn feeling, Young-ryong was frozen in place. Supported by the special affection shown by the widow Yeong-ja, Young-ryong spent a few days in a dreamlike state. Profoundly impressed, he returned home and wrote an excellent article, and with firm resolve Young-ryong followed in Murai’s footsteps by volunteering for the Navy. [Photo: A scene from Love and Vows]

Gyeongseong Ilbo (Keijo Nippo) May 25-27, 1945
The Story of the Film “Love and Vows”

Love and Vows was completed recently and released to the public on the 24th. The film portrays the determination of Korean youth to serve at sea in response to the Naval Special Volunteer Soldier System.

Mr. Shiraishi (right) meeting Lieutenant Murai on the rooftop of the offices of Keijo Nippo Newspaper.

(1)

“The sky over Korea is as beautiful as ever, is it not?”

“Yes. But this beautiful sky connects to the great skies of the battlefield where you will go.”

Shiraishi Goro, Editor-in-Chief of the Keijo Shimpo Newspaper, said this with deep emotion as he gazed up at the clear sky after taking a rooftop photograph of Lieutenant Murai, the only son of his former mentor, who was leaving for the front. Suddenly noticing a boy peeking out from behind a wall, he exclaimed sharply, “Is that you, Young-ryong? Where have you been wandering?” and strode over (4:26).

This boy was Kim Young-ryong, an orphan whom Shiraishi had picked up from the backstreets of Jongno four years earlier and taken into his home. Young-ryong now worked as an office boy at the newspaper while attending night school, but his vagrant habits remained, and after a minor mistake a few days earlier, he had run away from home.

Hearing the circumstances, Lieutenant Murai said, “That will not do. You must not cause such worry. It is now your turn to be strong,” and clapped Young-ryong on the shoulder. He then asked Shiraishi, “How about taking one more photo of us together, for both our sakes?”

Shiraishi, sensing the Lieutenant’s firm resolve in his words, “That will not do ... it is now your turn to be strong,” raised his camera once more to capture the pair standing side by side (5:41).

Soon after, news was announced of the glorious deed of the Kamikaze Special Attack Unit, and among the names was Murai Shinichiro—Lieutenant Murai (7:29).

(2)

“Do you know the name of the boy standing next to my late husband?”

Yeong-ja is holding her son, to her left is the nanny, and Shiraishi Keiko is sitting

When Shiraishi's wife visited Murai’s widow, Yeong-ja, bringing the photograph of Lieutenant Murai taken at the newspaper office, she whispered this. Yeong-ja, who lost her parents during the Shanghai Incident and was separated from her five-year-old brother Kim Young-joo (김영주, 金英柱) when she was repatriated to Korea, felt the boy’s face somehow resembled that of her lost brother (19:36).

“This boy is an orphan we took in. His name is Kim Young-ryong.”

Mrs. Shiraishi replied sympathetically and promised to have her husband arrange for Young-ryong to visit.

Meanwhile, at Murai’s former school, Shiraishi addressed the students: “When you hear of divine falcons (kamikaze pilots), you may think of them as men born great, beyond your reach. But that is not so. If you become fine soldiers, you too can become divine falcons. Study well every day and strive to become fine soldiers.” Thus, Shiraishi appealed to their young hearts with words that were easy to understand, encouraging them to follow in Murai's footsteps (25:18).

That night, returning late from Murai’s home, Shiraishi's wife Keiko found their son Toyoo and Young-ryong in an uproar, having drunk whiskey mistaking it for wine.

“Why would you do such a thing while your mother was away?”

Mrs. Shiraishi, who arrived home earlier than her husband, scolded Toyoo harshly but did not scold Young-ryong. Expecting to be rebuked, Young-ryong felt all the more lonely for the lack of scolding, and, unable to bear the solitude of his longing for affection, retreated to his room. There, he quietly wept, calling out for his “mother.”

Later, when Mr. Shiraishi heard the story from his wife Keiko and peeked into Young-ryong’s room, he noticed the word “어머니” (Mother) scratched into the wall. He chided his wife, “Why did you not scold Young-ryong too? Look at this. He wanted to be scolded as well.”

Omoni is written in Hangul in the middle of the Japanese text.

(3)

“This is an excellent report of your visit. It is filled with sincerity.”

Yeong-ja proudly looks on at Young-ryong who is about to be deployed as an Imperial soldier.

Mr. Shiraishi praised Young-ryong’s account of his visit to the Murai home and promised to make him a trainee reporter. But unexpectedly, Young-ryong did not rejoice. Instead, he said he wanted to become a Navy man, not a reporter trainee, and asked to enter the Special Volunteer Soldier Training School (1:10:39).

A major reason for this change of heart was the sight of the Korean recruit, unable to board a bus due to a traffic accident, who said resolutely, “It is fine, I will run to the station,” and dashed off along the road (58:06), stirring Young-ryong’s young blood with this image of such courage and determination.

“I see, so you wish to become a Special Volunteer Soldier,” Shiraishi said with heartfelt joy and gave his enthusiastic encouragement.

Thus, in April, with the cherry blossoms in bloom, Young-ryong’s wish was fulfilled as he, accompanied by Yeong-ja and the Shiraishis, proudly set off for the Special Volunteer Soldier Training School (1:13:56).

(The End)

[Transcription]

京城日報 1945年5月23日

待望の『愛と誓い』
きょう府民館で試写会

大本営海軍報道部企画指導、海軍省後援のもとに朝鮮映画社は三月十五日から撮影を開始した海軍映画『愛と誓い』はこのほど製作完了。二十三日昼夜二回にわたり府民館で招待試写会を行う。

これは半島海軍志願兵制度の精神を現すと共に特攻精神の実相を劇的興味ある物語で綴ったもので不幸な人々が相助け合う温かい人情味を盛って戦時下ややもすれば荒みがちな愛情をよみがえらせるもの。

その梗概をみれば幼なくして父母兄弟を失った天涯の孤児金英龍は京城新報社白石編集局長の情けでその家に引取られ、新聞社の給仕を勤めつつ温かい生活を続けていたが、特別攻撃隊員村井少尉家へ社命で記事取材のため訪問。村井少尉の学んだ教室、遊んだ純朴な野原や川のほとりへと未亡人英子と共に歩いた。彼等が静かな物思いに耽りつつ帰って来ると、恰度村井少尉出撃前夜の声を録音した音盤が届けられていた。

『いよいよ出動です。かねてお訓しのように笑って出かけます』と音盤から明るい声が流れ出た。この厳粛な気持に英龍は身じろきも出来なかった。また英子未亡人の殊更な愛情も手伝って夢のような幾日かを過し、深い感銘をいだいて帰った英龍は素晴らしい記事を残して決然と村井少尉のあとに続き海軍に志願した。【写真＝愛と誓いの一場面】

京城日報 1945年5月25日～27日

映画物語『愛と誓い』

海軍特別志願兵制度に応えて半島に沸きあがる青少年の海への決意を描く朝映の『愛と誓い』はこのほど完成。二十四日から封切られた。

（１）

『相変らず、朝鮮の空は美しいですね』

『そうだ。でもこの美しい空は、君の征く戦場の大空へ、つながっているのだよ』

京城新報社の編輯局長白石五郎は、出征にあたって、社へ別れに来た恩師の一人息子村井少尉の写真を屋上で撮り了ると、沁々とした面持で、澄みきった大空を仰いだが、フト向こうの壁のところから、チラッと覗いた一人の少年の姿を目ざとく見付けると、『英龍じゃないか。何処をうろついていたのだ』と、劇しい言葉を浴びせて、近寄って行った。

この少年は、四年まえ鐘路の裏街から白石が拾ってきて、ずっと自分の家で面倒を見てやっている金英龍という孤児で、いまは社の給仕をさせながら夜学へ通わせているのだが、未だに放浪癖が抜けずもう二三日まえから、一寸した失策から家を飛び出しているのであった。村井少尉は、白石局長からその事情をきくと、『いかん、そんな心配をかけるものではない。これからは君たちがしっかりする番だよ』と言って、英龍の肩を叩くと、『どうです、二人の分も一つ、もう一枚とって下さいませんか』と白石局長へ頼んだ。

白石は『いかん、これからは君たちが、しっかりする番だ』という村井少尉の言葉に、なにか劇しい少尉の決意を予感しながら、再びならび立った二人へカメラを向けた。

果たせるかな。それから間もなく神風特別攻撃隊〇〇隊の壮挙が発表されたが、その中に村井信一郎－村井少尉の名前があった。

（２）

『この良人の傍に立っている子供の名前を、御存じでしょうか』

村井少尉が社へ訪ねてきたときにとった写真を持って、白石夫妻が恩師の宅を訪問すると、少尉の未亡人へささやいた。英子は、上海事変のとき両親を失い、朝鮮へ引き揚げるとき、五つになっていた弟の金英柱ともはぐれて仕舞ったのだが、その弟の幼顔に何処かその少年の顔は、似ているというのである。

『この子供は、私の家に引取っている孤児ではありませんか。金英龍といいますの』

白石夫人は、気の毒そうにそう言うと、それでも一度良人へ頼んで、英龍を訪ねさせようと、約束するのであった。

その頃、白石は恩師の学校で、全校生徒を集めて、『神鷲というと、あなた達は自分の手の届かないような、大変生れつきから偉かった人のように考えるでしょうが、決してそうではありません。立派な軍人になれれば、きっと神鷲になれるのです。あなた達だって、毎日をよく勉強して早く立派な軍人になって下さい』と、判り易い言葉で、烈々と村井少尉のあとへ続く、その童心へ呼びかけていた。

しかしその夜、遅く村井家から白石夫妻が帰ってみると、子供の豊夫と英龍は葡萄酒と間違えてウィスキーを飲み大変な騒ぎをしているところであった。

『お母さんの留守に、なぜこんな真似をするのです』

白石より先に帰ってきた夫人の桂子は、激しく豊夫を叱ったが、英龍は叱らなかった。当然叱られることを覚悟していた英龍は、かえって叱られないことが淋しく、愛情の孤独に耐えかねて、自分の部屋へ悄然と戻ると、声を忍ばせて泣きながら、お母さんと呼びつづけるのであった。

後から帰宅した白石は、桂子から事情をきいて、眠っている英龍の部屋を覗いたが、共入口の壁にかかれている어머니（オモニ）という爪文字を見ると、なぜ英龍も、叱ってやらなかったのだ、之を見るがいい、きっと英龍も叱られたかったのだと、桂子をなじった。

（３）

『これは立派な訪問記だ。君の真心がこもっている』

金英龍に村井家を訪問させた白石は英龍の書いてきたその訪問記を見て、非常に激賞すると、君も今度から記者見習いにしてやるといった。しかし英龍は意外にも、それを喜ばなかった。そうして自分は、記者見習よりも、海軍軍人になりたいから、特別志願兵訓練所へ入所したいと言った。

村井家を訪問した英龍の心の中に、大きな変化を起させた一つの原因は村井家から帰る日、自動車事故のためにバスに乗れなくなった半島の入営壮丁が、いいです駅まで走りますと、みんなの心配顔へ、決然として言うと、一散にバス道路を駅へかけて行ったその雄々しい姿であった。あの雄々しさ、あの毅然たる姿、それを思いうかべると、英龍の若い全身の血は沸り立つのであった。

『そうか、特別志願兵になるか』白井は心からそれを喜ぶと、大いに激励した。

やがて桜咲く四月、念願の叶った英龍は、英子や白石夫妻に送られて勇躍〇〇特別志願兵訓練所へ急ぐのであった。（了）

Source: National Library of Korea, Digital Newspaper Archive

External blog links covering "Love and Vows":

• https://blog.naver.com/bumryul/223117000706 (in Korean)
• https://beh3.hatenablog.com/entry/2021/10/02/151951 (in Japanese)
• https://ameblo.jp/jk-nextfilm/entry-10461126501.html (in Japanese)

Link to the YouTube video of the entire film (no subtitles): https://youtu.be/AsmQjtVSUyA

Imperial Japan shamed Koreans for going to theaters instead of preparing for invasion (March 1945)

As Imperial Japan’s war effort crumbled in early 1945, its propaganda turned increasingly desperate and moralistic. This article, published in March 1945 in Seoul, lashes out at Korean civilians for lining up to see a play, accusing them of betraying the national spirit at a time when Japanese soldiers were dying en masse on Iwo Jima. The piece demands that people forgo leisure, dig trenches, and prepare for the looming American invasion. It also criticizes theater groups for chasing profits instead of bringing morale-boosting performances to soldiers "production warriors" in factories, mines, and rural areas. This highlights how Korean entertainers, such as dancer Choi Seung-hee, were required to perform for the Imperial Army. What stands out is not just the guilt-tripping, but how directly it scolds colonial Koreans as if they were expected to share in Japan’s imperial death cult. Movie theaters throughout Korea would subsequently close, not to reopen until after the war.

I translated the full article below.

[Translation]

Gyeongseong Ilbo (Keijo Nippo) March 26, 1945

Have You Forgotten Your Outrage, Masses?
Entertainment must be in step with the times

Following the news that all soldiers on Iwo Jima had died charging into the enemy, the announcement of the Divine Tide Special Attack Units stirred the blood of the 26 million residents of the Korean Peninsula. “Strike and do not stop!”—biting down, chewing on grass roots if necessary—we swore to fight to the end. Surely, you felt that burning spirit surge through your very being.

Yet some people in Seoul are acting disgracefully. Though the theater was scheduled to open at 1 p.m., people began crowding in front of the Bumingwan Hall from around 8 a.m., desperate to see a play. Elbowing and shoving each other—this vulgar spectacle—is this acceptable? We want to shout at the top of our lungs: Is this really acceptable?

Yes, one might say that spending a day at the theater is understandable, given the lack of entertainment on the home front. But no! The proper time to seek amusement should be determined by the common sense of the people themselves.

Even if the play is enlightening or educational, it is utterly unacceptable from a national moral standpoint to be scrambling for tickets and pushing through crowds to see a performance while listening to the radio report on the Iwo Jima charge, a report that claws at the chests of 100 million people.

No one dies from not watching a play. But if the people grow complacent for even a single moment now, Greater East Asia will be ravaged by the venomous fangs of our enemy America. The phrase "stab the enemy to death with a bamboo spear from within a dugout" is not an exaggeration or a rhetorical flourish. It is the grim reality now at our doorstep.

If you have time to see a play, dig a trench. Evacuate your clothing and tableware. Contribute to the preparation of bomb shelters. Spending two or three hours jostling in front of a theater out of a craving for theater performances is unacceptable behavior in a time when the home front demands the very soul of the Special Attack Unit spirit. Citizens of Seoul, awaken from the depths of your conscience!

We also demand that performers reflect seriously. They must clearly understand the mission of theater in wartime. In the past, performances for the comfort of production warriors toured around visiting every region, but it would be fortunate if these were not simply patchwork measures to dodge criticism from authorities and informed citizens. If theater people are truly awakened to contributing to the war effort, then they should perform in rural farming and fishing villages, mines, and factories—rarely performing in cities, only a few times per year. Let them break free of profit-driven motives.

Furthermore, we must address the organizer—the Seoul City Social Welfare Association. They claim that proceeds go toward welfare work. But if the essence of relief work is the spiritual rehabilitation of the people, then how can they justify stirring up crowds into a ticket-buying frenzy and drowning out the solemnity of the day following news of the Iwo Jima charge? That is not spiritual rehabilitation, but moral confusion which is pushing citizens in exactly the wrong direction.

On a day of such grave national announcements, performances must be canceled immediately. Canceling them becomes a noble opportunity for many people to reflect and contributes more truly to spiritual rehabilitation. To say that doing anything to obtain funds is permissible as long as it is for social welfare is a fallacy.

Now more than ever, everything must be done in line with wartime ethics. Everything must be morally sound and in harmony with the national situation. Yet ironically, at this very theater, it was the venue staff—hired by a "social welfare" group—who had to swing whips to drive back the crowd as it surged forward.

[Photo caption: Is your face among this crowd?]

[Transcription]

京城日報 1945年3月26日

憤激忘れたれ群像
娯楽も時を弁えよ

硫黄島全員斬込みの報につづく神潮特攻隊の公表され、半島二千六百万の血はたぎりたった。撃ちてしやまむ歯を喰いしばって、草の根をかじって、撃ちてしやまむ、この熾烈な戦意が身内に逆流するのをおぼえたにちがいない。ところが、京城府民の一部には開館は一時からだというのに朝の八時頃から芝居を見たさに死にもの狂いになって府民館の前に押し合いへし合う非時局人がいる。この醜態はどうだ。これでよいのか。声を大にしてこれでよいのかと叱咤したい。

娯楽の乏しい銃後の一日を観劇に過ごす、だれに聞かせても一応納得できることではある。だがしかし、娯楽を求める『時』というものは自ら国民の常識によって判断すべきである。

硫黄島斬込みの一億の胸をかきむしる放送を耳にしながらいかに啓蒙的演劇であっても芝居を見る為にごったかえして入場を争うのは国民倫理として絶対許さるべきではない。芝居をみなくても死にはしない。しかしいまの一瞬を国民が懈怠すれば、大東亜が敵アメリカの毒牙に荒される。穴にもぐって竹槍をもって敵を刺殺するというのは誇張でも修辞でもない。目の前に迫った現実なのだ。

芝居を見る暇があったら穴を掘れ。衣類、食器の疎開をせよ。待避壕の整備に努力すべきだ。芝居をみたさに二時間も三時間も劇場の前にごったかえすことは、銃後に特攻魂の強く希求されている今日起り得べき事柄ではない。府民よ、肚の底から自覚せよ。

更に演劇人に反省を求めたいのは、戦時下の演劇の使命をもっとはっきり把握して貰いたいことである。従来も増産戦士慰問は各地域を巡回してやっていたが、これが当局並に識者の鋭い批判の目を逃れるための彌縫策でなければ幸い、もし真に演劇人にして時局に寄与することに目ざめたならば、都会では一年の内数回しか興行せず重点を農漁村、鉱山、工場方面に利潤追求から脱却した演劇人の覚醒も望まれる。

更に主催者側である京城府社会事業協会に敢えて一言社会事業一部に充てるための興行であるそうだが、救済事業の本質が精神的更生にあるとすれば、硫黄島斬り込みの報を耳にし、厳粛な一日を送らんとする府民を、切符買いに狂奔せしめ混雑にまぎれて厳粛さを忘れ去るようなことは銃後の精神を錯乱に陥れる。精神的更生が府民を逆な方面に追いやっているではないか。

このような崇厳な発表のあった場合は直ちに興行をやめるべきだ。やめることがより多くの人たちの反省の貴い資となり精神更生のためになることを知るべきである。社会事業のためなら何をして基金を得てもよいという道理はない。

あくまでも時局的に、どこまでも道義的でなければならぬこと他よりも一層である。しかも整理員が鞭をふり廻して殺到する観衆を追いはらっていたのは、主催者が社会事業協会であっただけに、何かしら皮肉なものを感じさせた。【写真＝この群集の中に君の顔はないか】

Source: National Library of Korea, Digital Newspaper Archive

A look into the foreign films showing in Korean movie theaters in June to Dec. 1943: Ohm Krüger (1941) was heavily promoted to foment anti-British sentiment

This post will be a continuation of my exploration into the kinds of foreign movies that Seoul residents might have watched in 1943, when Imperial Japan was in the middle of a desperate war. To mark exactly 80 years since June to December 1943, I scanned the Keijo Nippo newspapers for any movie ads for foreign films that were showing at movie theaters in Seoul for those months. I identified the movies based on the Japanese titles as well as clues left in the ads themselves, such as the plot lines and the names of the directors and actors. As you can see, in this period, there were 12 foreign films that were screened in Seoul: 6 German films, 4 Italian films, and 2 French films:

• June 1943: Ballerine (Italy, 1936)
• July 1943: Kameraden auf See (Germany, 1938), Andalusische Nächte (Germany, 1938), L'Antenato (Italy, 1936)
• August 1943: None
• September 1943: Tango Notturno (Germany, 1937), Varieté (Germany, 1935)
• October 1943: Ohm Krüger (Germany, 1941), Luciano Serra pilota (Italy, 1938)
• November 1943: Gli ultimi giorni di Pompei (Italy, 1926)
• December 1943: Maria Chapdelaine (France, 1934), Conflit (France, 1938), Wunschkonzert (Germany, 1940)

Some of these movies are available to watch online in clips or, in some cases, in their entirety on Youtube or Internet Archive, so I will share links below along with the movie ads. I linked to resources on Wikipedia wherever I could.

Ballerine (Italy, 1936) was a drama starring Silviana Jachino (pictured in this ad) and Antonio Centa, whose name is printed here. This film was made into a double feature, where you had to sit in for the domestic Imperial Japanese film (秀子の車掌さん) if you wanted to watch the foreign film. The film only showed from June 18th to the 20th. 

Ballerine (1936) - Keijo Nippo June 18, 1943

Kameraden auf See (Germany, 1938) was a war film starring Theodor Loos and Julius Brandt (pictured in this ad) and Carola Höhn, whose name is printed here. This film was made into a double feature, where you had to sit in for the domestic Imperial Japanese film (わが家の春) if you wanted to watch the foreign film. The film only showed from July 1st to the 4th. 

Kameraden auf See (1938) - Keijo Nippo July 1, 1943

Andalusische Nächte (Germany, 1938) was a musical film directed by Herbert Maisch and starring Imperio Argentina, who is pictured in the ad. The film only showed from July 1st to the 4th. 

Nights in Andalusia (1938) - Keijo Nippo July 1, 1943

L'Antenato (Italy, 1936) was a 1936 comedy starring Antonio Gandusio and Paola Barbara, who are depicted in this ad. This film was also showing in Seoul in April 1943. This film resumed screening on July 10th.

L'Antenato (1936) - Keijo Nippo July 10, 1943

Tango Notturno (Germany, 1937) was a drama film directed by Fritz Kirchhoff and starring Pola Negri who is pictured in this ad. This film only screened on September 6th and 7th. An excerpt of this film is available on Youtube here.

Tango Notturno (1937) - Keijo Nippo September 6, 1943

Varieté (Germany, 1935) was a French-German drama film directed by Nicolas Farkas and starring Annabella who is pictured in this ad. This film screened from September 27th to the 30th.

Varieté (1935) - Keijo Nippo September 26, 1943

Ohm Krüger (Germany, 1941) was a 1941 German biographical film directed by Hans Steinhoff and starring Emil Jannings, Lucie Höflich, and Werner Hinz. It was one of a series of major propaganda films produced in Nazi Germany attacking the United Kingdom. The film depicts the life of the South African politician Paul Kruger and his eventual defeat by the British during the Boer War. The ads are filled with very intense anti-British and anti-American propaganda messaging like, "This is the true face of Anglo-Saxon brutality!" "Now is the time to gaze upon the bestial British atrocities that will remain in world history!" "Gaze upon the unparalleled atrocities of the brutal U.S. and Britain!" This film was heavily promoted with a whopping six ads in one month, showing from October 14th to the 20th. The full movie is available on YouTube here.

Ohm Krüger (1941) - Keijo Nippo October 13, 15, 16, 17 (x2), 20th, 1943 (left-right, top-bottom)

Luciano Serra pilota (Italy, 1938) was a war drama film directed by Goffredo Alessandrini and starring Amedeo Nazzari and Roberto Villa, whose names are printed here. The ad incorrectly states that Vittorio Mussolini was the director. This film was made into a double feature, where you had to sit in for the domestic Imperial Japanese film if you wanted to watch the foreign film. The film only showed from July 1st to the 4th. The full movie is available on YouTube here.

Luciano Serra, Pilot (1938) - Keijo Nippo October 30, 1943

Gli ultimi giorni di Pompei (Italy, 1926) was a historical silent drama film directed by Carmine Gallone and Amleto Palermi and starring Victor Varconi and María Corda, whose names are printed on this ad. This film was made into a double feature, where you had to sit in for the domestic Imperial Japanese film (快闘・富士の男伊達) if you wanted to watch the foreign film. The film screened from November 12th. A very brief excerpt of this film is available on YouTube here.

Last Days of Pompei (1926) - Keijo Nippo November 12, 1943

Maria Chapdelaine (France, 1934) was a drama film directed by Julien Duvivier and starring Madeleine Renaud and Jean Gabin, whose names are printed in the ad. This film was made into a double feature, where you had to sit in for the domestic Imperial Japanese film (島は夕やけ) if you wanted to watch the foreign film. The film screened from December 9th to the 11th. An excerpt of this film is available on Elephant Cinema Quebec here.

Maria Chapdelaine (1934) - Keijo Nippo December 8th, 1943

Conflit (France, 1938) was a drama film starring Corinne Luchaire, Annie Ducaux, Marguerite and Raymond Rouleau whose names are printed on the ads. It screened from December 18th to the 21th. A long excerpt of this film is available on YouTube here.

Conflit (1938) - Keijo Nippo December 15, 1943

Conflit (1938) - Keijo Nippo December 18, 1943

Conflit (1938) - Keijo Nippo December 18, 1943

Wunschkonzert (1940) was a German drama propaganda film starring Ilse Werner, who is prominently featured on the ads. This movie was heavily promoted in Keijo Nippo, and it also screened earlier in January and March of 1943. The German brochure for this movie is available on the Internet Archive here. The full movie (no subtitles) is available on the Internet Archive here. A clip of one of the songs is available on YouTube here. It screened from December 18th to the 21st.

Wunschkonzert (1943) - Keijo Nippo December 17, 1943

Wunschkonzert (1943) - Keijo Nippo December 18, 1943

August 28, 1945: Colonial regime announces a peaceful transition of power to the new incoming Korean government, reopens comfort women services, department stores, cafés in Seoul as popular uprising subsides, plans orderly repatriation of Japanese residents

This is another fascinating historical article that I stumbled upon during my visit to the National Library of Korea a few months ago. This is a news announcement made on August 28, 1945 announcing an orderly, peaceful transition of power just 13 days after Imperial Japan surrendered on August 15, 1945. In the initial few days after August 15th, the military authorities were at the forefront making defiant announcements in the face of a massive Korean popular uprising, but for the first time since Imperial Japan's surrender, a civilian leader, Mr. Konishi Haruo, has come forward to address the nation in a sober, conciliatory address emptied of the usual Imperialist bravado, to provide a blueprint for a peaceful transition of power to the new Korean state and the repatriation of Japanese residents back to Japan.

Mr. Konishi's address, photo taken at the National Library of Korea

Mr. Konishi was a 66-year-old mining executive at Meiji Mining who came from a respectable Samurai family in Fukuoka prefecture. He had a distinguished career at various banks, treasuries, and chambers of commerce in Korea and Manchuria. There had always been tensions between civilian and military authorities in colonial Korea, but it seems that, in this moment, the military people have retreated into the background and the civilian leaders like Mr. Konishi have gained the upper hand.

Konishi calls upon Japanese residents in Korea to act responsibly, contributing positively to both their homeland and the new independent Korean state. He is confident that the rights of Japanese residents will be respected in a new humanitarian and civilized Korean state. He also touches on the practicalities of repatriation, like the handling of properties and belongings by trust companies and warehouses, and the limitations of transport capacity for returning all Japanese residents within the year. Konishi concludes by emphasizing the achievements of Japanese governance in Korea, such as infrastructure and financial systems, and expresses hope for a respectful and responsible transition period.

In the usual fashion, the editors at Keijo Nippo places positive, upbeat news articles adjacent to dark, serious news articles. This time, the 'positive' articles are about the reopening of 'high-end entertainment establishments' like restaurants, cafes, and comfort women services (kisaeng). This may have been a goodwill gesture by the colonial authorities to appease the angry populace and relieve social tensions ahead of the peaceful handover of power. For days after August 15, the civil unrest was apparently so intense that shops couldn't open, but by August 27, the unrest had died down enough for shops to cautiously reopen, but there were still apparently not many shoppers who dared to ventured out to go shopping.

Note: These were challenging articles to decipher because of the poor state of preservation of the newsprint. There was a small section of the text that I just couldn't make out, so I indicated this with ellipses. Sorry that I forgot to take a picture of the accompanying grainy news photo of shoppers gathered around a stall in a department store.

[Translation]

Gyeongseong (Keijo Nippo) August 28, 1945

On the Issue of Repatriation

By Haruo Konishi

August 15th. What is more to say about that day? However, what has been the state of Seoul, the capital of all Korea, in this past week? There are countless things that are truly lamentable. Do not panic! It is extremely important for us, as citizens of a great nation, to maintain our composure. But who were the very first ones to panic? Who were the ones to cause this chaos? Now is not the time to delve into that.

In this grave crisis, the responsibilities of the Governor-General's office are indeed significant. How should they guide the 26 million people of the Korean peninsula? What should be done about the 1.2 million mainland Japanese residents in Korea? Maintaining public order and securing transportation and communication are absolutely crucial. Even if the transfer of power to the newly emerging state and its new government occurs peacefully, things like sorting office documents, clearing desks and shelves, and arranging for the handing over of lodgings are of least importance. The transfer of the city is often talked about in dramatic tales, but the transfer of the Governor-General's rule is not just a matter of formality. There are much bigger issues at hand. I understand that the authorities are making great efforts, but they must not get things backwards.

In the future, it won't be easy to simply dispose of the businesses, homes, and properties that over 1.2 million mainland Japanese residents in Korea have painstakingly developed over the past three to four decades.

On the other hand, what is the situation in our motherland? What about the food and population problem? The unemployment situation? The war victims? What if people from China, Manchuria, Korea, Taiwan, Sakhalin, and the South Pacific all repatriate to mainland Japan at once? There would likely be unimaginable difficulties. In addition to the country's existing hardships…

…the Japanese people were supposed to, under the grand vision of the Emperor, play a key role in peace and contribute to cultural development by expanding overseas. But what should have been a matter of concern was if this, instead, led back to domestic repercussions, inevitably leading to a path of further misery.

In this sense, I believe there are many points we need to learn and adopt broadly. From this perspective, the mainland Japanese residents in Korea should hold their ground to the utmost extent, contributing not only to our motherland but also to the newly emerging state.

Various national policies will be established and implemented in the new state. However, the new state will undoubtedly be a civilized and humanitarian one, adhering to international standards of humanity, and not a barbaric state. Therefore, I firmly believe that there is absolutely no concern that the private rights of mainland Japanese residents in Korea will be unreasonably confiscated, trampled upon, or plundered. With this understanding and insight, I have been advising people around me not to panic, but to calmly observe and handle the transition. A few days ago, I read former Seoul University Professor Yasuda's opinion in the Keijo Nippo newspaper and largely agreed with him, but I hope those in power will guide the people well. The Japanese people of Northern Korea repatriated in a state of confusion because Northern Korea became a battleground due to the Soviet Union's offensive. This is completely different from the situation of the Japanese people in Seoul repatriating to mainland Japan.

The real estate properties of the repatriating people will be taken care of by a certain trust company, and their belongings will be stored in a certain warehouse. This is indeed commendable. However, this sounds to the people like they are being forced to hurry and repatriate. With this view in mind, they should be guided to stay and devote themselves to their livelihoods, showing great ambition and spirit, as it will likely be impossible to complete all repatriations within this year with the current transportation capacity.

Even if the Governor-General's office is abolished, its residual duties must be managed, and some of them will likely be inherited by a future embassy or legation. It goes without saying that financial institutions and transportation and communication facilities must hold their ground until the end, ensuring as smooth as possible a transition of power, not just leaving things to "fate".

There were considerable achievements during the Governor-General's rule in terms of roads, ports, electricity, transportation, water resources, finance, etc. A certain Korean scholar said that it probably would have taken more than 200 years for the Korean people alone to achieve this much. Now is the most crucial time. This autumn is the time for us all to exercise self-restraint. (The writer is the Managing Director of Meiji Mining)

Towards a Brighter, Leisure-Focused Society

Relaxation of Restrictions on High-End Leisure Activities

Aiming for a return to a brighter society and life, the government is currently studying the removal of various restrictions imposed as wartime measures. As an immediate step, the full-scale lifting of the ban on high-end leisure activities, which was part of the "Decisive Battle Emergency Measures" implemented in March last year and further extended for a year this March, has been decided. Consequently, not only the opening of restaurants and cafés but also the employment of female entertainers and kisaeng is now permitted. Furthermore, authorities are also advancing their research on potentially freeing up special leisure sectors such as dance halls and cabarets depending on the situation.

Department Stores Struggle with Decline in Customer Foot Traffic

Reopening Since Yesterday

Since that day, various department stores had been completely closed, but they reopened their doors from August 27th. However, due to a lack of merchandise, the situation is such that, conversely, black markets have emerged in the city offering almost everything at high prices. Consequently, domestic department stores like Mitsukoshi, Chōjiya, and Minakai had fewer customers than expected on their long-awaited reopening, especially in food and textile sections which remained quiet. Only a few Western goods, cosmetics, and general merchandise were being sold to some extent.

Mitsukoshi, for instance, had been holding a swap meet for unnecessary items since the beginning of the month, which was suspended on August 16th, and exchanges were halted. But from August 27th, the retrieval of items resumed. As for the purchases of furniture and household goods of repatriating people by various department stores, which are reportedly to be organized by a certain mainland Japanese welfare association, there is no official word yet, so people are slowly bringing in items.

According to observations from various stores, there might be fewer items for sale now since so many were sold off at once previously, and the situation in the surrounding areas has somewhat stabilized, suggesting that there may not be a need to rush into selling. This could be why there are surprisingly few items up for sale. [Photo = At a certain department store]

[Transcription]

京城日報 1945年8月28日

引き揚げ問題に就いて

小西春雄

八月十五日。もう何もいう事はないのである。併し此一週間に於ける全鮮就中主都たる京城の様相はどうだ。真に浩嘆に耐えぬ事が夥しい。周章狼狽するな。大国民たるの襟度を保てと尤も千万である。だが抑も誰が一番先きに慌てたか。誰が周章狼狽せしめたか。今敢えて詮議立てはせぬ。

此の大難局に際し総督府の責務は実に大きい。半島二千六百万の民衆を如何に指導すべき乎、在鮮百二十万の内地人を如何に措置すべきか。而して治安の維持と交通通信の確保が絶対に把握されねばならぬ。軈て生れ出る新国家。やがて樹立さるる新政府との間に平和裡に接収と引き渡しとが行われるにしても、官庁の書類の整理や戸棚や机の取片付けや、宿舎明け渡しの手配の如きは末の末である。城の引き渡しは浪花節でもよく語る。併し総督政治の明け渡しは、ソンナ形式的の事ではない。もっともっと大きな問題がある。当局に於いては嘸かし御苦心の事と察するが、断じて本来顛倒はゆるされぬのである。

今後は在鮮百余万の内地人が此三、四十年間に苦心惨憺を据えて、夫々の生業に従事し来った結晶ともいうべき事業や家産や財産は、短時間に簡単に処理の出来る筈のものでない。

翻って母国の状態は如何。食糧人口の問題は如何。失業状態は如何。戦災者は如何。支那、満州、朝鮮、台湾、樺太、南洋各地から内地へ一度に引き揚げて来たならば如何。蓋し想い半に過ぐるものがあろう。国歩困難の上に更に．．．

．．．国民は、大御心の下に平和の鍵役として文化発展の為に貢献すべく海外各地に進出すべきでこそある。憂惧すべきでこそあるそれが逆に内地に帰結する様ではさらに悲惨の一路を辿る外あるまい。

其の意味で吾は今後寛闊に学ぶべき点が多々あると思う。其の観点からするも在鮮の内地人諸君は何処迄も踏み止って、母国の為に、将に新国家の為更に貢献する處なくてならぬ。

新国家では色々の国策が樹立され施行せられよう。併し新国家は立派な文明的の国家たるに相違ない。人道的の国家で天下の人道を基準とするもので、野蛮国家でない事に一抹の疑念もない。従って在鮮の内地人の私権が理不尽に没収され、蹂躙され、又は掠奪さるる如き懸念は絶対にあり得ないと確信する。余は此見解と見透しの下に身辺の人々に慌てるな、落ち着いて推移を静観善処せよと説いて居る。数日前、元城大安田教授の御意見を京日紙上で拝見し大体に於いて同感したが、更に権力ある方々からよく民衆を指導して戴きたい。北鮮の人々が右往左往して引き揚げたのは、ソ聯の進攻で北鮮が戦場となったからで、京城人が内地へ引き揚げるのとは全然筋合いが違う。

引き揚げ者の不動産は某信託会社で世話する。又荷物は某倉庫で保管するという。誠に結構である。併し之等が民衆には引き揚げろ引き揚げろと響く。斯く斯くの見渡しであるから安心して踏止って生業に勤め、大器雄心を発揮せよと指導して行くげきであり、現在の輸送力でも今年一ぱいでは到底全部の引き揚げは不可能であろう。

総督府は撤廃となっても残務は処理さるべく、且つ其の一部は将来大使館なり公使館なりに継承されるであろう。金融機関や交通通信機関が最後迄踏み止るのは勿論、新国家をして其の昨日を困難ならしむることなく『あとは野となれ山となれ』ではなく出来るだけ円滑に政権の推移が遂行する様にありたい。

総督政治に於ける道路、港湾、電力、交通、水利、金融等々の治績は相当のものがある。或る半島の識者は、半島人のみの手では二百年かかっても之だけの事業は恐らく出来まいと洩らしていた。今やその最後の一番大事な時である。お互いに自重すべき秋である。（筆者は明治鉱業専務）

明るい享楽面へ

高級享楽停止を解除

明るい社会、明るい生活への復帰をめざし、本府では戦時措置としての種々の制限撤廃を研究中であるが、差し当たり昨年三月実施本年三月さらに一ヶ年延長された『決戦非常措置要綱』中の高級享楽停止を全面的に解除することになった。従って料理屋、カフェーの開店は勿論、芸妓、妓生などの就業も許可されるわけであるが、当局ではさらに場合によってはダンスホール、キャバレー等特殊享楽部面の解放についても研究を進めている。

客足渋る百貨店

きのうから再び店開き

あの日以来すっかり店を休んでいた各百貨店は二十七日から再び蓋を開けたが、何しろ商品のない折柄ではあり、逆に街には闇市場が出て高値さえ承知ならこちらには殆どないものがないという有様なので中止の内地側百貨店は三越も丁子屋も三中井も久し振りの開店の割には客が少なく、特に食料品や繊維製品売場は閑散で、わずかに洋品雑貨、化粧品、荒物類が淋しく売れていく程度である。

三越など月初めから不用品の交換会が行われていたのが十六日で休業となり、交換も中断の形だったが、二十七日からは出品の引き取りが始まったという程度。例の内地人世話会が肝煎りで行うという各百貨店での引揚者の家具家財の買上も正式の話がまだないので、ぼつぼつ持って来る人があるという程度。

何処の店の観測でも一時にあんなにドッと売出したから今更売りに出す人も少ないだろうし、まだ四囲の情勢も落ちついて来たため、更慌てて売りに出さなくてもいいという様な見透しから案外出品は少ないのじゃないかと見ている。【写真＝某百貨店にて】

“The New Age Has Arrived”: Imperial Japanese Propaganda Manga from Occupied China, 1942

Just sharing a fascinating piece of historical artifact - a comic strip, or more accurately, a manga, published in the January 1, 1942 edition of the Xinshenbao (新申報) newspaper.

Some background for context: Xinshenbao was a Chinese language pro-Imperial Japan collaborationist newspaper that was published in Shanghai during the Imperial Japanese occupation period. This specific strip was published just after World War II had ignited, following the infamous attack on Pearl Harbor on December 7, 1941.

The manga is aptly titled "The New Age has Arrived" (新時代来了) and serves as a very condensed and accessible vehicle for the narrative Imperial Japan wanted to promote.

The manga is split into two contrasting sides. The right side portrays what it calls the "Dark Ages (黒暗時代）" of colonialism, beginning with Christopher Columbus's journey to the Americas and the subsequent exploitation and colonization of various regions, particularly Asia. The comic strip graphically highlights the European powers' plundering of India, Vietnam, and China, and the subsequent events of the Opium Wars which resulted in Qing China ceding Hong Kong, Shanghai, and Tianjin. It then concludes with a telling depiction of the US and Britain resting on the backs of exploited East Asian peoples, a clear image of colonial oppression.

The left side, on the other hand, brings forth what the manga terms the "Enlightened Age (光明時代）". Here, we see a caricatured version of world events from an Imperial Japanese perspective. Nazi Germany is shown striking back at Britain, while Imperial Japan sternly warns Britain against interference in East Asia. China is shown as a damsel in distress, presumably waiting for Japan, the knight in shining armor, to rescue her from Western oppression. Then the plot thickens, as the US is shown intimidating Japan with a firearm, egged on by a cheering Britain. But in a heroic turn of events, Japan retaliates, landing blows on both the US and Britain. The strip ends on a note of East Asian unity, showing the people cooperating to overthrow the colonial powers.

The purpose of this comic, much like most propaganda, is to galvanize support for Imperial Japan's cause by framing it as a heroic struggle against Western colonialism and imperialism. It's interesting how these narratives were disseminated through seemingly innocuous forms like comics, thereby reaching a wide audience, including children.

Source: https://www.archive.org/details/xsb-1942.01.01

Original:

Translation:

A look into the foreign films showing in Korean movie theaters in April/May 1943: L'antenato (1936), Capriccio (1938), Ein Lied für dich (1933), Fahrendes Volk (1938), Le Bal (1931), Heimat (1938), Un soir de rafle (1931)

This post will be a continuation of my exploration into the kinds of foreign movies that Seoul residents might have watched in 1943, when Imperial Japan was in the middle of a desperate war. To mark exactly 80 years since April and May 1943, I scanned the Keijo Nippo newspapers for any movie ads for foreign films that were showing at movie theaters in Seoul for those months. I identified the movies based on the Japanese titles as well as clues left in the ads themselves, such as the plot lines and the names of the directors and actors. As you can see, there were three German films, one French film, and one Italian film showing in April 1943, and just one German film and one French film showing in May 1943.

Foreign movies shown in April 1943:

• L'antenato (Italy, 1936)
• Capriccio (Germany, 1938)
• Ein Lied für dich (Germany, 1933)
• Fahrendes Volk (Germany, 1938)
• Le Bal (France, 1931)

Foreign movies shown in May 1943:

• Heimat (Germany, 1938)
• Un soir de rafle (France, 1931)

Let's take a look at the foreign movies which were screened in April 1943:

L'antenato (The Ancestor) was a 1936 Italian comedy starring Antonio Gandusio and Paola Barbara, who are depicted in these movie ads. This movie was showing at least on April 5th and perhaps other days in April. The following ads are from the April 3, April 4, and April 11 editions of Keijo Nippo.

Capriccio was a 1938 German historical comedy starring Lilian Harvey, who is featured in this movie ad which was published on April 17. The movie was showing for three days from April 17 to April 19. The full movie with English subtitles is available on Youtube here.

Ein Lied für dich (A Song for You) was a 1933 German romantic musical starring Jenny Jugo, who is featured in this movie ad published on April 17. This movie was showing for three days from April 17 to April 19.

Fahrendes Volk (People Who Travel) was a 1938 German drama film starring Françoise Rosay, who is featured in this movie ad published on April 30. This movie was showing for three days from April 30 to May 2. The full movie is available on Youtube here.

Le Bal (The Ball) was a 1931 French comedy drama film starring Danielle Darrieux, who is featured in this movie ad published on April 30. This movie was showing for three days from April 30 to May 2. 

Let's now take a look at the two foreign movies which were screened in May 1943:

Heimat (Homeland) was a 1938 German historical drama starring Zarah Leander, who is featured in this movie ad published on May 13. This movie opened on May 13th. The full movie is available on the Internet Archive here. Incidentally, this movie was also shown in March 1943.

Un soir de rafle (Dragnet Night) was a 1931 French romantic drama starring Annabella, who is featured in this movie ad published on May 13. It was screened for three days from May 13 to May 15. The full movie is available on Internet Archive here.

Source 1: https://www.archive.org/details/kjnp-1943-04-03
Source 2: https://www.archive.org/details/kjnp-1943-04-04
Source 3: https://www.archive.org/details/kjnp-1943-04-11
Source 4: https://www.archive.org/details/kjnp-1943-04-17
Source 5: https://www.archive.org/details/kjnp-1943-04-30
Source 6: https://www.archive.org/details/kjnp-1943-05-13