[4] Bantsuma's father, a cotton wholesaler named Chōgorō, lived till the age of 71 but his mother, older brother, and sister died when he was young.

He attended Jisshi Elementary School (which stands next to the former site of Denma-chō Prison where many the loyal supporters of the Emperor, whom he frequently played in his films, were deeply involved).

[citation needed] After the death of his mother, his father's business soon went bankrupt and Bantsuma was unable to continue his education.

Rokuhei subsequently selected Bantsuma to debut in his film Gyakuryu in 1924, a story about a poor, low-rank samurai whose life is turned upside down by his enemy.

The story revolves around the protagonist, Heizaburo Kuritomi, an honorable but low-class samurai who is given an emotional depth, previously unseen in jidaigeki films, as he battles with inner conflict and the injustices of society.

In the past, the heroes of the films were proud samurai of the upper classes who always triumphed over their evil opponents, upholding what was truly right in the world.

Many are those who wear a false mask of benevolence to hide their treachery and the wickedness of their true selves,’ the film evoked provocative ideologies and rebellious ideas during a time where liberal performers and writers were being repressed throughout Japan.

In 1935, Bantsuma worked with the renowned director Hiroshi Inagaki in his first talkie film, Niino Tsuruchiyo (1935), but his rather feeble voice was unpopular with the audience.

Bantsuma's films, particularly his earlier works, would not be complete without the fast-paced sword fighting scenes that always guaranteed to raise the heart rate of his audience.

Ryu Kuze, a sword fighting coach analyzed Bantsuma's technique and put his uniqueness down to the fact that he does not look at his victims when he slays them.

Ryu Kuze also pointed out that Bantsuma would stand straight with his ankles lined up which was his signature pose that signaled death for his opponent.

He wrote several articles for magazines such as Bantsuma Cinema News and displayed his sensitivity, as well as giving the audience an insight into his mentality.

His first son, Takahiro Tamura (who died on 16 May 2006 from a cerebral infarction), often spoke fondly about his father in interviews and gave valuable insights.

The family often spent their summers at the beach in Amanohashidate and, as Takahiro recalled, Bantsuma would splash around in the water, even more excited than his brothers.

Takahiro distinctly remembered his father bounding down the stairs and bowing in front of the teacher till his forehead touched the floor, almost as if shooting a scene from one of his jidaigeki films.

The role he played in Abare Jishi of a father who would do anything for his children is a more accurate representation of Bantsuma, who was an affectionate and well-rounded family man.

His first son, Takahiro Tamura described watching his father eat dried fish and drink sake in the style of the character of the film.

[4] A grave has been built in his memory in Nisonin, Kyoto and Bantsuma lives on through the continued popularity of his films and the impact he made to the history of Japanese cinema.