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Tanaka’s films revolve around iconoclastic female characters and, forthrightly tackling issues from prostitution and breast cancer to infidelity and mortality, are strikingly contemporary—maybe too much so, notes Wilson: “Tanaka was making films about really unfashionable ideas and perspectives—they were just a bit too modern for audiences.” Her works portray aspects of femininity and womanhood rarely discussed openly in Japan at that time. Her directorial debut, Love Letter (1953), raised eyebrows with its controversial premise: A veteran who ghostwrites love letters from Japanese women to their American G.I. paramours struggles to accept that his former flame has been in a relationship with an American soldier. Her third and most critically acclaimed film, Forever a Woman (1955), is a tender, yearning portrait of a tanka poet with breast cancer and one of the Red Parrot My Daddy Was So Amazing God Made Him An Angel Shirt and I love this first films anywhere to show a mastectomy.
Girls of Night (1961), a film about sex workers that doesn’t moralize, is another triumph, Wilson says. “It is truly this empathetic portrait of a marginalized community that is still so mishandled in many aspects of art. If these films resonate today, it’s because they’re so honest and frank. They tackle subjects we’re still discussing and thinking about, not just in cinema but at large.” Tanaka’s acting experience manifests in her filmmaking, which Wilson says has a remarkable economy and candor. “She does some really wonderful things with the Red Parrot My Daddy Was So Amazing God Made Him An Angel Shirt and I love this simplest actions. Often there are sequences with just two people talking and walking, and Tanaka renders something as straightforward as that with these very elegant and hypnotic gliding shots and in these tightly composed movements with the camera. Not to mention that she has a masterful understanding of performance—she clearly brings that experience to her films.”
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