Working mainly with Toei, singer Hibari Misora was able to carve out for herself a distinctive career as a tentpole movie star in the early post-war period. In contrast to other female stars of the day, Misora’s leading women are generally feisty and rebellious standing up against injustice in period films and contemporary dramas alike while she also made a point of subverting societal gender norms often crossdressing or playing with gender ambiguity. 1955’s The Swordsman and the Actress (大江戸千両囃子, Oedo Senryo Bayashi) meanwhile sees her taking a backseat to the main action but sowing the seeds for her later career as she stops a cruel samurai plot in its tracks and even gets to participate in the final showdown.
The drama starts when young actress Koharu (Hibari Misora) misplaces her fan and is lent one by another performer which attracts the attention of bad samurai Shuzen Ogaki (Kyu Sazanaka) who recognises it as having once belonged to the Shogun. As it turns out, Koharu’s friend Hanji (Rentaro Kita) was gifted the fan by a childhood friend, a noble woman, Okyo (Keiko Yashioji), for whom he may have had feelings which would could never be returned seeing as he was the son of a maid. Having seen him in a play but feeling it would be inappropriate to meet, Okyo sent the fan in fondness but had not realised it to be valuable and is now in a difficult position as the Shogun will soon be visiting and if he does not see the fan will be offended. Shuzen wants the fan for himself to embarrass Okyo and her husband and advance his own position. Just as Okyo dispatches trusted retainer Gennojo (Chiyonosuke Azuma) to ask Hanji to return the fan, Shuzen sends in his goons killing Hanji but only after he manages to substitute a fake fan for the real one.
What follows is a complicated game of find the lady as the fake fan and the real are swapped between Gennojo and Shuzen often via a pair of pickpockets, Oryu (Ayuko Saijo) and sidekick, who alternately help and hinder largely because Oryu develops a crush on the extremely disinterested Gennojo. As usual, Koharu is on the side of right trying to fulfil Hanji’s dying wish by returning the fan to Okyo before the Shogun’s New Year visit but is also on a side quest of her own in looking for her long lost sister. It would be tempting in a sense to view the fan as cursed as it indeed provokes nothing but trouble, not only getting Hanji killed and endangering the lives of Okyo and her son, but also provoking discord wherever it’s mentioned sending a pair of married shopkeepers into a blazing row when they realise their young son may have walked off with the priceless object (and later sold it so his mum can buy sake).
In the quest for the fan, Koharu takes a backseat while Gennojo does most of the leg work played as he is by jidaigeki star Chiyonosuke Azuma with whom Misora would frequently co-star. Though there are hints of a romance it is not the main thrust of the drama considering Misora’s relative youth, though she does get to wistfully sing the title song several times over. Meanwhile the pair are finally joined by a late in the game appearance from veteran Ryutaro Otomo as a typically raucous ronin, Jubei, who steals the screen to such an extent it almost seems as if the film is part of a series revolving around his character who turns out to be another victim of Shuzen’s plot having been exiled from his clan supposedly for having turned down the advances of his now mistress Oren. “I, Fujisaki Jubei, may be unemployed but mine is still the sword of righteousness and it doesn’t like evil doers!” he snarls apparently quite fed up with samurai corruption.
Sasaki certainly has a lot of fun with his fan swapping shenanigans, even going slightly experimental in an excuse to give Chiyonosuke Azuma a fan dance while throwing in additional comic relief from the bumbling pickpockets and some strangely comic death scenes but does not disappoint as the major heroes and villains reunite in the final showdown taking place as it does on stage and allowing Koharu’s troupe mistress to show off her sword skills while Oryu redeems herself and the evil samurai plot is finally defeated by the forces of righteousness. An anarchic affair, Swordsman and the Actress never takes itself too seriously but nevertheless sows the seeds for many of Misora’s subsequent adventures as she sets the world to rights again with the aid of her two complementary samurai sidekicks.
Musical clip (no subtitles)