Tonpei and Sarukichi

About the production

The film was part of the 'Athena Library' series, a collection of educational and narrative shorts produced by Yokohama Cinema Shokai. It was created using a highly refined paper cutout animation technique that was so smooth it was frequently mistaken for cel animation by contemporary audiences. The production involved a small, dedicated team including scriptwriter Chuzo Aochi and cinematographer Yukikiyo Ueno, who collaborated with Murata on approximately 50 titles.

Themes

Themes & topics

Historical background

Released in 1932, Tonpei and Sarukichi reached audiences during the early sound era, when exhibition and production norms differed sharply from today's.

Why this film matters

Tonpei and Sarukichi remains viewable through digital archives, preserving 1932 screen culture for modern audiences.

Making of

Yasuji Murata developed his unique cutout animation style through self-study and trial and error after joining Yokohama Cinema Shokai. Unlike his contemporary Sanae Yamamoto, who favored slapstick, Murata focused on fluid, realistic movement within the limitations of paper cutouts. The production of 'Tonpei and Sarukichi' occurred during a transitional period for the studio as they moved toward more narrative-driven and socially reflective content. The use of military hardware like tanks and machine guns in the film reflected the studio's increasing engagement with contemporary themes of national defense and technological modernization.

What critics said

Modern notes on Tonpei and Sarukichi emphasize preservation, stylistic choices, and its place within director or studio filmographies.

Did you know?

• The film was released in a 16mm version titled 'Sarukichi Has Won' (Sarukichi no Shori) by Konishiroku Honten.
• Director Yasuji Murata was a former movie theater signboard artist before becoming a pioneer of Japanese animation.
• The film features surprisingly modern technology for a fable, including telephones and tanks.
• It was reviewed in the July 1, 1932 edition of Cinema Junpo (No. 440), a prestigious Japanese film magazine.
• The character of the Lion is portrayed as 'credulous' or easily fooled, which was a common trope in Murata's didactic works.
• The animation style is noted for its 'droll' and 'dry' manner, favoring anatomical logic over the slapstick squash-and-stretch common in American cartoons of the era.

Visual style

The film utilizes a flat, two-dimensional plane characteristic of cutout animation but achieves depth through clever layering and the use of geometric framing (circles and squares). Cinematographer Yukikiyo Ueno employed precise lighting to ensure the paper edges were not visible, maintaining the illusion of a continuous drawing. The 'camera' movements are mostly static, with the action occurring through the meticulously moved paper joints of the characters.

Innovations

The film is celebrated for its 'invisible' cutout technique, where the joints and edges of the paper characters are so well-concealed that the movement appears fluid and organic. It also features early examples of 'transformation' sequences in anime, specifically the scene where Sarukichi's traditional house transforms into a functional military tank.

Music

Originally released as a silent film, it was intended to be accompanied by live 'benshi' narration and traditional musical accompaniment (likely shamisen or small ensemble) in theaters. Some preserved versions have had modern scores or synchronized music added for archival screenings.

Famous quotes

Tonpei the Pig's arrogant behavior finally causes Sarukichi the Monkey to take action.

The pig lied to the King Lion to get him on his side.

Justice wins even in an outnumbered battle.

Memorable scenes

• The opening sequence where Tonpei's alarm clock physically expresses anger at his laziness.
• The transformation of Sarukichi's humble house into a heavy tank to defend against the Lion's army.
• The climax where the mole army detonates an underground bomb, causing a massive explosion that defeats the invaders.

What audiences thought

Contemporary audiences, particularly children, were the primary target for the Athena Library series; they received the film as both an educational moral story and a thrilling action short. The 16mm 'Sakura Graph' home versions were popular for school and community screenings, helping to establish Sarukichi the Monkey as a recognizable hero figure in early Japanese pop culture.

Film connections

Influenced by

• Traditional Japanese folklore (specifically 'The Monkey and the Crab')
• Winsor McCay (animation style)
• Contemporary Japanese military newsreels

This film influenced

• Momotaro's Sea Eagles (1943)
• Private Norakuro series

Film restoration

The film is preserved and has been digitally restored. It is currently part of the 'Japanese Animated Film Classics' collection curated by the National Film Archive of Japan.

Where to watch

• Japanese Animated Film Classics (Official Website)
• National Film Archive of Japan
• Internet Archive (Public Domain)