Kojiro Hongo

2.1. Childhood and Education

Kojiro Hongo was born on February 15, 1938, as the second son of a hardware store owner in Omotecho, Kita Ward, Okayama City, Okayama Prefecture, Japan. He pursued higher education at Rikkyo University, where he studied English and American Literature. During his university years, Hongo was an active member of the judo club, a discipline that would inadvertently open the doors to his future career. Standing at 68 in ^{(172 cm)} tall, his athletic build and proficiency in judo were distinguishing features. His wife was Miyako Kojo, and his second son is actor Sojiro Hongo.

2.2. Actor Debut and Early Career

Hongo's entry into the film industry was a result of a fortuitous encounter. His aunt, who often carried a photograph of Hongo in his judo uniform with a black belt, happened to show it to Hideo Matsuyama, an executive at Daiei Studios and a friend of her brother-in-law. Daiei was actively seeking new judo stars to follow the likes of Susumu Fujita and Kenji Sugawara. Upon seeing the photograph, Daiei's president, Masaichi Nagata, immediately demanded that Hongo be brought in. Hongo jokingly described this incident as being "kidnapped."

Despite being interviewed by Matsuyama and acclaimed director Kon Ichikawa at Daiei's headquarters, Hongo initially had no intention of becoming an actor and candidly told them that he found Japanese films "boring." However, he was eventually persuaded, agreeing only on the condition that he would star in "judo films." He joined the Daiei Acting Institute as a 12th-generation Daiei New Face in 1958. His film debut came in 1959 with Kodokan ni Hi wa Noboru (*The Sun Rises at Kodokan*), where he played a supporting lead role to Kenji Sugawara. In recognition of his promising start, Hongo received an Elan d'or Award for Newcomer of the Year in 1959.

During the filming of Kodokan ni Hi wa Noboru on Mount Wakakusa, a scene required him to be thrown. When he saw mats laid out for the stunt, Hongo questioned their purpose, stating that they weren't needed on the dirt ground. This surprised director Katsuhiko Tasaka, who, thrilled by Hongo's genuine judo skills, filmed a sequence where Hongo was continuously thrown seven times by Sugawara in a single take. This was groundbreaking, as previous judo films had always used stunt doubles. President Nagata was reportedly overjoyed by Hongo's authenticity, ordering him to be promoted as a star. Despite his rapid ascent to stardom, Hongo maintained a humble perspective, stating that he made no personal effort to become an actor and never had aspirations for the profession.

3.1. Daiei Studios Era

Under the direct command of President Masaichi Nagata and due to a shortage of young male stars at the time, Hongo quickly became a prominent figure at Daiei Studios. He was cast in a continuous string of films, establishing himself as a versatile young star capable of performing in both historical dramas and contemporary films. By 1961, he was chosen for the lead role in Buddha (also known as Shaka), which was notable as Japan's first 70mm film.

During his time at Daiei, Hongo was reportedly cherished by his senior colleague Raizo Ichikawa, who treated him like a younger brother, even letting Hongo stay at his home when Hongo's initial salary was low. He co-starred with Ichikawa in numerous films and received guidance on performing in historical dramas. When faced with the challenge of a lead role early in his career, he recalled receiving contradictory advice: Kon Ichikawa told him to "just memorize the script," while Shintaro Katsu advised him, "Don't memorize the script; first get into the role," which initially confused him. Hongo often reflected on his Daiei years as a period of intense busyness, where it was common for him and the crew to sleep briefly on the studio floor due to tight schedules, often moving directly from one filming location to the next early in the morning.

Hongo, who favored literary-themed films, initially resisted the company's directive to star in Gamera vs. Barugon (1966). He reportedly went into hiding for days, staying in a hotel. He joked that "other actors scattered like spiders," and he was the only one "caught." He attempted to feign a serious illness, calling the head office from a hotel in Osaka claiming he was gravely ill. In response, a production manager and section chief from the head office visited him. Panicked, Hongo called a doctor friend, brought in a nurse, received a nutritional injection, and feigned a critical condition under a futon. The section chief, believing his act, reportedly called the office saying, "It's no good, Hongo's illness is real." However, he was told that the company would wait until he recovered, and he was eventually persuaded to take the role. He then went on to star in other films often considered "children's movies" like Return of Daimajin (1966), Gamera vs. Gyaos (1967), Gamera vs. Viras (1968), and Yokai Monsters: Along with Ghosts (1969), which he admitted to resenting at the time.

However, his perspective on the Gamera series evolved significantly later in his career. He was deeply moved and pleased when he was asked to appear in Gamera: Guardian of the Universe (1995) during the Heisei era, reflecting on his past self. While he had previously omitted the Gamera films from his official profile, he later decided to include them after consistently being asked why they were missing. He ultimately considered the Gamera films a "treasure" and expressed surprise that they would become such a lasting part of his legacy.

3.2. Post-Daiei and Television Work

After his tenure as a leading star at Daiei Studios concluded in 1969, Kojiro Hongo broadened his acting scope by appearing in films from other companies and, significantly, by transitioning into television drama. He became a familiar face on the small screen, with one of his most notable roles being Detective Takeshi Tachibana in the long-running crime series Tokusō Saizensen (*Special Investigative Frontline*). He played this character for nine years, from 1978 to 1987, making it one of his representative works.

He also made appearances in several prestigious NHK Taiga Dramas, which are annual historical television series. He portrayed Amari Torayasu in Takeda Shingen (1988), Sakuma Morishige in Nobunaga: King of Zipangu (1992), and Hōjō Tokimasa in Homura Tatsu (1993). These roles showcased his versatility and continued presence in significant television productions, solidifying his career beyond the studio system.

3.3. Filmography and Other Works

Kojiro Hongo's prolific career spanned film, television, V-cinema, and stage. His acting period officially lasted from 1958 to 2004.

4.1. Discography

Kojiro Hongo released two singles during his career, both in 1963 with Nippon Columbia.

• "Ashita ni Yume wo Kakeyo yo" (1963)
• "Ano Ko" (1963)

6.1. Assessment and Influence

Hongo's acting style was praised for its ability to traverse different genres, from the athleticism required in judo films to the dramatic depth in historical and literary works, and the realism demanded by television crime dramas. His early roles at Daiei Studios established him as a reliable leading man, contributing to many of the studio's major productions of the 1960s, including the pioneering 70mm film Buddha.

His initial disdain for appearing in "children's movies" like the Gamera series is a well-documented anecdote of his career. Despite his early resistance, his roles in Gamera vs. Barugon, Return of Daimajin, Gamera vs. Gyaos, Gamera vs. Viras, and Yokai Monsters: Along with Ghosts became some of his most recognized works, especially internationally. His decision to include these titles in his professional profile later in life, and his joy at being asked to reprise a role in Gamera: Guardian of the Universe in 1995, illustrate his ultimate acceptance and pride in their lasting cultural impact. He came to view these films as a "treasure," recognizing their enduring legacy long after their initial release. His long-running role in the television series Tokusō Saizensen further solidified his place as a beloved figure in Japanese entertainment, showcasing his ability to adapt and thrive beyond the studio system.