Cold Open

It’s just after 5:30 PM, on May 15th, 1932, at the official residence of the prime minister in Tokyo, Japan.

75-year-old Inukai Tsuyoshi bounces his infant grandchild on his knee, smiling at the girl’s innocent laughter. It’s a refreshing change to the sound of arguing voices that dominated the cabinet meeting he chaired earlier today.

Tsuyoshi has only been prime minister for five months. But it’s already become difficult. Tsuyoshi’s political party doesn’t have a majority in the Japanese parliament, so he has a diverse set of ministers from different parties who rarely agree on anything. On top of that, Japan is dealing with economic uncertainty and an increase in violent nationalism. But now, with his daughter-in-law cooking him dinner in the adjoining kitchen, Tsuyoshi gets to enjoy himself. He tickles his granddaughter under her arm.

But the laughter is interrupted by the sound of the single gunshot from the floor below.

Tsuyoshi rises from his chair…and quickly locks the door to the apartment, as his daughter-in-law hurries in from the kitchen, her face pale. Tsuyoshi hands her the baby and gestures for them both to be quiet. Then, Tsuyoshi puts his ear to the door and strains to hear what’s happening on the other side.

There are footsteps heading up the stairs toward them.

A second gunshot rings out from just behind the door, and Tsuyoshi jumps back.

The door handle rattles.

Then someone tries to break the door down. Tsuyoshi’s grandchild begins to scream.

The door finally gives way, and Tsuyoshi steps in front of his daughter-in-law and grand child, as armed men in military uniform burst into the room.

Inukai Tsuyoshi won’t need to guess who the intruders are. With guns drawn, they reveal their identities as nationalist members of the Japanese Imperial Army and Navy. Then, they announce their goals: to overthrow democracy and return Japan to what they see as its glorious past. And their revolution will begin with the prime minister’s death on May 15th, 1932.

Introduction

From Noiser and Airship, I’m Lindsay Graham and this is History Daily.

History is made every day. On this podcast—every day—we tell the true stories of the people and events that shaped our world.

Today is May 15th, 1932: The Assassination of Japan’s Prime Minister.

Act One: City Lights

It’s May 14th, 1932, in Tokyo, Japan, one day before armed intruders break into the official residence of the country's prime minister.

43-year-old actor and filmmaker Charlie Chaplin steps off the train at Tokyo Station and waves to a cheering crowd. Hundreds of adoring fans have gathered on the platform, all hungry for a glimpse of the Hollywood icon on his first visit to Japan. Chaplin has come to Tokyo to promote his latest movie, City Lights. Like the rest of Chaplin’s work, City Lights is a silent film. And with no English dialogue, only music and sound effects, there aren’t any language barriers stopping people from around the world enjoying Chaplin’s performances. So now, he is seeing firsthand just how far his fame has spread.

As one of the leading stars of the silver screen, Chaplin is used to attention. But the number of people waiting to see him in Tokyo is something else. When Chaplin finally makes it past the fans inside the station, he’s greeted by thousands more outside. Chaplin poses for photos as Tokyo police officers struggle to hold back the enormous crowd.

It's all a bit bewildering, because before arriving in the Tokyo, Chaplin had heard conflicting reports about how he’d be received, because outsiders aren’t always welcome in the Japan of the 1930s.

Over the past sixty years, Japan has undergone a dramatic transformation. Beginning in the late 19th century, under the rule of a new emperor, what was once a feudal, agrarian society has become a modern industrialized nation, with a parliament and a prime minister. It was quickly covered by railroads and huge factories belching smoke into the sky. But alongside these political and economic reforms, there was also rapid expansion of Japan’s military. Conflict with regional rivals like Russia and China followed, and a string of victories helped build a new Japanese Empire.

And Japan’s Imperial Army and Navy are now more powerful than ever. They operate almost independently of the civilian government—and they are eager for further wars of conquest. This militarism is encouraged by many ordinary people. The Great Depression has hit Japan hard, damaging faith in mainstream politics. Nationalism is increasingly popular, fueled by the widespread belief that the Japanese are a superior race, one that deserves a mighty empire.

Charlie Chaplin has been told that Japanese nationalists hate the West. And nothing embodies American capitalism quite like a big Hollywood movie star. That’s made both Chaplin and Tokyo’s authorities nervous in case Chaplin’s visit sparks disorder.

But it seems that the large police presence on the streets of Tokyo is doing its job—Chaplin certainly doesn’t feel unwelcome or unsafe. And after making his way through the throng of admirers to his hotel, Chaplin asks if he can explore the city. Soon after, he’s smuggled out of a back door to avoid the crowds still milling outside and is taken on a brief tour.

First, Chaplin visits the Imperial Palace. He doesn’t have an audience with the emperor, but it doesn’t stop him from honoring the Japanese custom of bowing to the building with the emperor inside. Next, Chaplin and his guide have dinner at a local restaurant. But when Chaplin sits down to sample some traditional Japanese dishes, he’s interrupted by six young men. To Chaplin, they seem skittish and nervous as they step up to the table. Then, what seems to be the ringleader pulls out a handful of lewd paintings and asks Chaplin if he wants to buy them. Chaplin refuses, but the strangers grow increasingly aggressive.

Sensing danger, Chaplin reaches into his pocket as if to grab for a weapon. That seems to scare the men off, and Chaplin can finish his meal in peace. Afterwards, he sets out to enjoy more of what Tokyo has to offer—but the encounter in the restaurant has set him on edge. Perhaps Japan is not as safe as he thought.

He returns to his hotel late that evening. And when he arrives, Chaplin is handed a message. It’s an invitation to dine with the Japanese Prime Minister Inukai Tsuyoshi. Chaplin recognizes what a great honor it is, and he immediately sends a reply saying he’d love to join the prime minister for dinner.

But Chaplin’s plans will change the following day. Tsuyoshi’s son will invite Chaplin to watch a sumo wrestling tournament instead. And this last-minute change will save Charlie Chaplin’s life—because at the same time that Chaplin is watching the sumo wrestlers, revolutionaries will storm the Prime Minister's residence, determined to kill Inukai Tsuyoshi.

Act Two: If We Could Talk

It’s May 15th, 1932, in Tokyo, one day after Charlie Chaplin was invited to dine with the Prime Minister of Japan.

27-year-old Navy Lieutenant, Mikami Taku meditates in the center of the Yasukuni Shrine. The temple is silent apart from the chorus of birdsong outside. And for Taku, this shrine is the holiest of places. He believes that this is where the spirits of all those who have died protecting Japan congregate. Taku whispers words to the fallen, asking them to guide him today and give him the strength to do what must be done: to kill the prime minister and overthrow the Japanese government.

Lieutenant Taku is a hardline nationalist. Since graduating from the academy six years ago, he’s risen quickly through the ranks of the Japanese Imperial Navy. During one of his early postings, Taku composed an inspirational song for his men. But his “Ode of Showa Restoration” was more than just a tune to motivate his troops. Taku also used it to identify hardliners like himself.

Like many extreme nationalists in the military, Lieutenant Taku believes Japan is being held back by its civilian leaders. Two years ago, they signed a treaty with other major international powers designed to prevent a naval arms race. But to men like Lieutenant Taku, that agreement was a shameful insult to Japan.

So, Taku wrote the lyrics to the “Ode of Showa Restoration” with a thinly veiled double meaning. Song was full of Japanese religious and historical imagery, harking back to an era before parliaments and prime ministers. And when he watched the young officers sing the song, Taku paid special attention to those that displayed real emotion. They were the kind of people Taku wanted to recruit for his plot. And once he identified them, Taku promoted these men into his inner circle, and when he fully trusted them, he revealed his plan to assassinate the prime minister.

So today, after he finishes his whispered prayers at the shrine, Lieutenant Taku bows his head for a moment in silent reverence. Then he rises, ready to enact his plan. On his way out, he passes four fellow naval officers and five army cadets who Taku has recruited for his plot. One by one, the young men follow Taku out of the temple.

Waiting outside are two taxis with their engines running. Taku tells the drivers to take them to the prime minister's residence. Once secure in the back seat of the first car, Taku takes out a pistol from his jacket. He checks the gun is loaded and tells the others to do the same with their weapons.

And then, just before they arrive at the residence, conversation turns to what to do about the prime minister’s guests. There’s a rumor that American movie star Charlie Chaplin might be dining there this evening. Taku tells the others that they should kill him, too. His death could force the United States to declare war on Japan, and that would allow the Japanese to demonstrate their superiority to the entire world.

The men nod in agreement as the taxis pull up outside the residence of the prime minister. The men climb out and knock on the door, and since they’re wearing military uniforms, they’re allowed inside. But then, the conspirators pull their weapons. After shooting two guards, Taku and his men break down the door of the prime minister’s apartment. And there, they find Inukai Tsuyoshi trying to shield his daughter-in-law and granddaughter.

Prime Minister Tsuyoshi is not even five feet tall and isn’t in any shape to fight. Instead, Tsuyoshi calmly asks the intruders to remove their shoes, and then asks them to follow him into a side room. Taku nods. But he knows exactly what Tsuyoshi is up to. He’s leading them away from his family, trying to delay them with conversation, and disarm them with politeness.

But while Taku is happy to spare the woman and the baby, he’s not willing to let Tsuyoshi live. So, as the Prime Minister invites the intruders into sit and tries to reason with them, Taku cuts him off and snarls that “talking is useless.” Then, the conspirators open fire. Prime Minister Tsuyoshi is dead within seconds.

After fleeing the residence, Lieutenant Taku and the others hope to spark a revolution in Japan. They throw hand grenades at banks and attack power stations, trying to plunge Tokyo into chaos. But when news leaks that the prime minister has been killed and there’s no sign of a mass uprising in response, the assassins will turn themselves in—and Lieutenant Mikami Taku and his fellow conspirators will have to answer for what they’ve done.

Act Three: A Dangerous Response

It’s June 1932 in Tokyo, one month after the assassination of Japanese Prime Minister Inukai Tsuyoshi.

Dressed in naval uniform, Lieutenant Mikami Taku stares ahead defiantly as a judge reads out the charges against him and nine other conspirators. When the judge finishes, Taku takes a seat. Lieutenant Taku knows that his life hangs in the balance—but he does not regret what he's done.

After Prime Minister Tsuyoshi was assassinated, the Japanese government was surprised by the public reaction. Although many mourned the death of the prime minister, a significant portion of the population voiced their support for the men who killed him. More than 100,000 people signed a petition for clemency for Taku and his fellow accused. Nine supporters even severed their pinky fingers and sent them to the court as a dramatic sign of their support for the assassins. Now, Lieutenant Taku only hopes that the judge is willing to listen to the Japanese people.

Over the next few days, Taku makes no attempt to defend himself against the charges of treason and mutiny. Instead, he uses the trial to deliver political speeches that he hopes will be widely reported in the press. He claims his actions were for the good of the country and it was his duty to kill the prime minister.

Unsurprisingly, at the end of the trial, Taku and his fellow conspirators are found guilty. But when it’s time to hand down the sentences, the judge is lenient. Taku is sentenced to 15 years in prison—but few believe he’ll even serve that long behind bars.

Many government ministers are horrified by the sentences. This is not the first political assassination in recent years, and they worry that the judge’s clemency will only increase support for the growing nationalist movement.

They’ll be proven correct. With Inukai Tsuyoshi’s death, the rule of civilian politicians in Imperial Japan comes to an end. Instead, the military begins to dominate the government, and Japan is steadily transformed into a totalitarian state. A cresting wave of Japanese nationalism will lead to war in the Pacific, first against China, then against the United States, and the European powers. Millions will die in the fighting. But the path to war was signposted by the death of just one man, when a group of young assassins murdered Prime Minister Inukai Tsuyoshi on May 15th, 1932.

Outro

Next on History Daily. May 16th, 1997. President Bill Clinton officially apologizes to the Black men who endured years of unethical medical treatment during the Tuskegee syphilis study.

From Noiser and Airship, this is History Daily, hosted, edited, and executive produced by me, Lindsay Graham.

Audio editing by Muhammad Shahzaib.

Sound design by Mollie Baack.

Supervising Sound Designer Matthew Filler.

Music by Thrumm.

This episode is written and researched by Owen Paul Nicholls.

Edited by Scott Reeves.

Managing producer Emily Burke.

Executive Producers are William Simpson for Airship, and Pascal Hughes for Noiser.