Masao Tamai

A re-edited Italian-language dubbed version of Godzilla, using as a basis the U.S. version Godzilla, King of the Monsters! (1956), plus WWII newsreel footage and clips from other monster 1950's movies. The re-edited film was then colorized via a process called Spectrorama 70 consisting of applying various colored gels to the black and white footage. The film's opening and ending also features new music composed by musician Vince Tempera (under the pseudonym Magnetic System).

The life of a toilet-seller during the Japanese Economic Miracle.

The story is of two people. One is deaf, the other deaf and mute. They marry after meeting at a school reunion, and the film follows their trials and tribulations ... and joys.

In this Japanese drama, a village girl goes to Tokyo and becomes a hooker to support her ailing mother. While there she meets an unmarried teacher (at least he says he's unmarried) and falls in love. When she learns that he lied and is married to a woman whose child was fathered by another man, she is crushed. He returns to his wife. The woman becomes more distraught when she learns her uncle has misused the money she has sent. As the final straw, her mother dies, and the girl becomes sick.

Keiko, whom everyone calls Mama, narrates her story: she's a hostess on the Ginza, 30, a widow. She describes life's vicious cycle: acting cheerful around drunks, dressing and living well to convey confidence, needing money for these expenses and for her demanding mother and brother, and knowing she's growing older. She's of an age when she must choose: to seek marriage (difficult given her tarnished occupation), to be a kept woman, or to borrow money to buy a bar of her own. Each route has dangers, including investors demanding a return on their loans. Keiko has a quiet dignity that attracts men, but are they what they seem? Does she actually have choices?

The story is about the social problems faced by Japan's indigenous Ainu, mostly centered on the reactions of the characters to their oppressed state.

Fifth entry in the Company President Series.

A war widow with a young boy manages a farm with her bossy mother-in-law. When a reporter comes to interview her, the two begin an affair. He turns out to be married and won't leave his wife. Her older brother tries to marry off his children and hang on to/ extend his farm through an advantageous marriage in the face of threatened land confiscation and the desire of his children to get comfortable urban jobs instead of the backbreaking work in the paddy fields under parental control.

Anzukko (Little Peach) is the daughter of a successful writer. She turns down each one of her suitors, until she marries a beginning writer named Ryokichi. Their life quickly sinks into despair.

A woman marries, gives birth to a stillborn child, and divorces, falls in love with a hotel-keeper, only to find herself subordinated to his drive for success, takes up with a tailor who cannot console himself with her strong personality.

Otsuta is running the geisha house Tsuta in Tokyo. Her business is heavily in debt. Her daughter Katsuyo doesn't see any future in her mothers trade in the late days of Geisha. But Otsuta will not give up. This film portraits the day time life of geisha when not entertaining customers.

Kiyoko (Takamine Hideko) and her husband want to open a coffee shop. She becomes increasingly close to the bank clerk (Mifune Toshiro) she's asked for a loan.

During an assignment, foreign correspondent Steve Martin spends a layover in Tokyo and is caught amid the rampage of an unstoppable prehistoric monster the Japanese call 'Godzilla'. The only hope for both Japan and the world lies on a secret weapon, which may prove more destructive than the monster itself.

A husband and wife's pet peeves and minor irritations escalate into major rifts and animosity.

1955 Toho adaptation of Natsume's novel.

Coach Shimamura of the hapless Sparrows baseball team is pleased to obtain a hot new pitcher named Onishi. But when Onishi begins a romantic relationship with the coach's daughter Michiko, Shimamura becomes angry with the young man, lashing out at him when he disobeys instructions during a game. In turn, Michiko becomes angry with her father, who becomes increasingly depressed. When a tragedy strikes the family, Coach Shimamura begins losing control of his life, just when his family and his team need him most.

A married Japanese forester during WWII is sent to Indochina to manage forests. He meets a young Japanese typist and promises to leave his wife. He doesn't and after the war, she turns up and the affair resumes.

Japan is thrown into a panic after several ships are sunk near Odo Island. An expedition to the island led by Dr. Yemani soon discover something far more devastating than imagined in the form of a 50 meter tall monster whom the natives call Gojira. Now the monster begins a rampage that threatens to destroy not only Japan, but the rest of the world as well.

Set at the end of World War II and after Japan's defeat, it is a melodrama about a man and a woman at the mercy of war. Wataru is entrusted by his best friend who has gone off to war with his sister Reiko to marry her, but he is not ready to abandon his love for Kumiko, a nurse at his mother's hospital.

What is the life of a Geisha like once her beauty has faded and she has retired? Kin has saved her money, and has become a wealthy money-lender, spending her days cold-heartedly collecting debts. Even her best friends, Tomi, Nobu, and Tamae, who were her fellow Geisha, are now indebted to her. For all of them, the glamor of their young lives has passed; Tomi and Tamae have children, but their children have disappointed them. Kin has two former lovers who still pursue her; one she wants to see, and the other she doesn't. But even the one she remembers fondly, when he shows up, proves to be a disappointment.

An ingratiating bride develops warm ties to her father-in-law while her cold husband blithely slights her for another woman.

Comedy about a 50-something movie director, his new bride, a classical dancer, and his adult son and daughter and their loves.

Ten years into a marriage, the wife is disappointed by the husband's lack of financial success, meaning she has to work and can't treat herself and the husband finds the wife slovenly and mean-spirited: she neither cooks not cleans particularly well and is generally disagreeable. In turn, he alternately ignores her and treats her as a servant. Neither is particularly happy, not helped by their unsatisfactory lodgers. The husband is easily seduced by an ex-colleague, a widow with a small child who needs some security, and considers leaving his wife.

1950s Japanese comedy.

Michiyo lives in the small place Osaka and is not happy with her marriage, all she does is cook and clean for her husband.

A young lord joins gang of Robin-esque robbers.

The critical establishment was clearly not prepared to accept a woman's prison film featuring former prostitutes recovering from venereal diseases, unwanted pregnancies, and estranged lovers. With its cat fights, hysterical tantrums, film noir lighting, and dramatic music, White Beast is indicative of the new influences of the Hollywood psychological thriller on Naruse. Caged (John Cromwell, 1950) initiated a cycle of women's prison movies in the United States that may or may not have been shown in Japan, but the stylistics of White Beast draw on the same paranoid woman's films and film noir conventions that preceded the American cycle.

The Angry Street includes a great deal of location shooting in the rebuilt city, including downtown streets, residential neighborhoods, the campus of the University of Tokyo, and the high life of jazzy dance halls. Sudo (Hara Yasumi) and Mori (Uno Jukichi) are two university students who make money by picking up rich girls in dance clubs and conning them into giving them cash. Mori is the brains of the operation, and Sudo is the suave dancer who picks up the girls. Over the course of the film, Sudo becomes involved with three different girls and is drawn into the gangster milieu, which he seems unable to resist even though he is responsible for his mother, grandmother, and sister, Masako (Wakayama Setsuko). In this world of bad boys and girls, Masako is the pillar of strength and moral virtue who finally enables Mori to straighten out.

"Delinquent Girl" - A melodramatic love story, a would-be apprenticeship between the titular “bad girl” and the optimistic scholar returning from the big city.

Japanese war movie

Japanese film.