was a Japanese actress. Though best known for her performances in Yasujirō Ozu's films Late Spring (1949) and Tokyo Story (1953), she had already appeared in 67 films before working with Ozu. Early career Setsuko Hara was born in what is now Hodogaya-ku, Yokohama in a family with three sons and five daughters. Her elder sister was married to film director Hisatora Kumagai, which gave her an entry into the world of the cinema: he encouraged her to drop out of school, which she did, and then she went to work for Nikkatsu Studios in Tamagawa, outside Tokyo, in 1935. She debuted at the age of 15 with a stage name that the studio gave her in . She came to prominence as an actress in the 1937 German-Japanese co-production Die Tochter des Samurai (The Daughter of the Samurai), known in Japan as Atarashiki Tsuchi (The New Earth), directed by Arnold Fanck and Mansaku Itami. In the film, Hara plays a woman who unsuccessfully attempts to immolate herself in a volcano. She continued to portray tragic heroines in many of her films until the end of World War II, like The Suicide Troops of the Watchtower (1942) and The Green Mountains (1949), directed by Tadashi Imai, and Toward the Decisive Battle in the Sky, directed by Kunio Watanabe. Postwar career Hara remained in Japan after 1945 and continued making films. She starred in Akira Kurosawa’s first postwar film, No Regrets for Our Youth (1946). She also worked with director Kimisaburo Yoshimura in A Ball at the Anjo House (1947) and Keisuke Kinoshita in Here’s to the Girls (1949). In all of these films, she was portrayed as the “new” Japanese woman, looking forward to a bright future. However, in most of her movies, especially those directed by Yasujirō Ozu and Mikio Naruse she plays the typical Japanese woman, as either daughter, wife, or mother. Hara’s first film of six with Yasujirō Ozu was Late Spring (1949), and their collaboration would last for the next twelve years. In Late Spring, she plays Noriko, a devoted daughter who prefers to stay at home and take care of her father than to marry, despite the urgings of her family members. In Early Summer (1951), she played an unrelated character also called Noriko, who wanted to get married, and finds the courage to do so without her family’s approval. This was followed by Tokyo