In the Golden Age of Japanese Cinema, even as male stars like Toshiro Mifune flourished, its greatest strength was in an astonishing array of female icons, great actresses as well as superstars: in a career that spanned over 40 years, Kinuyo Tanaka (1909-1977) suffered for Mizoguchi 15 times, gun-molled for Ozu early and got laughs for him late, eventually becoming everyone’s favorite aunt; Isuzu Yamada (born 1917) vaulted to stardom in her teens before playing a series of powerful, dominant parts, topped by her legendary “Lady Macbeth”; former dancer Machiko Kyo (born 1924) became internationally famous in Rashomon , then was glorified in LIFE , co-starred with Brando, and grew in screen sexiness into her 50s; Setsuko Hara (born 1920), the beloved “Virgin Star,” personified Miss Japan as the perfect daughter, sister, daughter-in-law, even mother for Ozu, while displaying Dostoyevskian range for Kurosawa; while Hideko Takamine (1924-2010), who died this past December, graduated from being Japan’s Shirley Temple into the tightly wound, unconquered Naruse heroine, even attaining the ultimate: a full-blown New Yorker profile.