It had put out only one prior subtitled film in the American market, and the only previous Japanese talkie commercially released in New York had been Mikio Naruse's comedy, Wife! Be Like a Rose!, in 1937: a critical and box-office flop. However, Rashomons commercial run, greatly helped by strong reviews from critics and even the columnist Ed Sullivan, earned $35,000 in its first three weeks at a single New York theatre, an almost unheard-of sum at the time. This success in turn led to a vogue in America and the West for Japanese movies throughout the 1950s, replacing the enthusiasm for Italian neorealist cinema. By the end of 1952 Rashomon was released in Japan, the United States, and most of Europe. Among the Japanese film-makers whose work, as a result, began to win festival prizes and commercial release in the West were Kenji Mizoguchi (The Life of Oharu, Ugetsu, Sansho the Bailiff) and, somewhat later, Yasujirō Ozu (Tokyo Story, An Autumn Afternoon)—artists highly respected in Japan but, before this period, almost totally unknown in the West. Kurosawa's growing reputation among Western audiences in the 1950s would make Western audiences more sympathetic to the reception of later generations of Japanese film-makers ranging from Kon Ichikawa, Masaki Kobayashi, Nagisa Oshima and Shohei Imamura to Juzo Itami, Takeshi Kitano and Takashi Miike. His career boosted by his sudden international fame, Kurosawa, now reunited with his original film studio, Toho (which would go on to produce his next 11 films), set to work on his next project, Ikiru. The movie stars Takashi Shimura as a cancer-ridden Tokyo bureaucrat, Watanabe, on a final quest for meaning before his death. For the screenplay, Kurosawa brought in Hashimoto as well as writer Hideo Oguni, who would go on to co-write twelve Kurosawa films. Despite the work's grim subject matter, the screenwriters took a satirical approach, which some have compared to the work of Brecht, to both the bureaucratic world of its hero and the U.S. cultural colonization of Japan. (American pop songs figure prominently in the film.) Because of this strategy, the filmmakers are usually credited with saving the picture from the kind of sentimentality common to dramas about characters with terminal illnesses. Ikiru opened in October 1952 to rave reviews—it won Kurosawa his second Kinema Junpo "Best Film" award—and enormous box office success. It remains the most acclaimed of all the artist's films set in the