Kuichirô Kishida

ゴジラシリーズ第6作となる日米合作映画。木星１３番目の新惑星・Ｘ星が発見され、Ｘ星探査に派遣された地球連合宇宙局の宇宙パイロットたちは、Ｘ星人と遭遇してしまう。Ｘ星人たちはガンの特効薬と引き換えに、キングギドラ撃退のためゴジラとラドンを借りたいと人類に申し出る。だが、彼らの真の目的は地球侵略にあり、ゴジラ、ラドンをＸ星へ連れ出し、電磁波で洗脳すると、キングギドラとともに地球に送り込み人類への攻撃を開始する。果たして人類にＸ星人の野望を打ち砕く術はあるのか？

When a rare species of butterfly is found in a mysterious valley in Japan, a pair of entomologists go to investigate and find more. They discover Varan, a giant monster, Who decided to leave the valley and head straight for Tokyo.

An Ishiro Honda film.

Aiko, a bar hostess, falls for the son of a company president who also keeps a mistress, and whose family disapproves of his relationship with the bar hostess.

The actor Koheiji is terribly in love with the wife of his best friend, the playwright Takuro; to get her, he would even kill Takuro.

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.

日本の「ゴジラ」(1954年)に、ハリウッドで追加撮影されたシーンを加えて再編集されたハリウッド上映版。 アメリカの新聞記者スティーブ・マーティン（レイモンド・バー）は、カイロへの取材に向かう途中に立ち寄った日本の東京で、ゴジラの上陸に遭遇する。スティーブの回想によって、ゴジラに蹂躙東京の惨状が描かれる。

日本の「ゴジラ」(1954年)に、ハリウッドで追加撮影されたシーンを加えて再編集されたハリウッド上映版。 アメリカの新聞記者スティーブ・マーティン（レイモンド・バー）は、カイロへの取材に向かう途中に立ち寄った日本の東京で、ゴジラの上陸に遭遇する。スティーブの回想によって、ゴジラに蹂躙東京の惨状が描かれる。

A human billboard and a shoeshine girl met a kid of five who got separated from her mother at a street of Ginza. They try to find a mother in a crowded town...

Parent apathy to sexual education leads to various troubles for the young cast.

A high-born woman named Okuni travels around the country with Gohei, a samurai retainer who is in service to her. They are in search of Tomonojo, who has killed the man who was Okuni’s husband and Gohei’s master, and they cannot return to their lord’s home until they have fulfilled their duty of hunting down and killing Tomonojo.

The troubled relationship between a writer and his ballet teacher wife, who has for years loved another man, finally leads to the breakup of the family.

Though recognized worldwide almost exclusively for his colorful kaiju fare, director Ishirō Honda (Godzilla, Rodan, Mothra) was a natural humanist with a particular understanding of the relationship between people and their social environs. His debut fiction feature, The Blue Pearl (Aoi Shinju) – virtually unseen in the west until now – depicts the melodramatic, but keenly-observed interplay between a young man from Tokyo and two ama (pearl divers; literally “women of the sea”) in a superstitious coastal town. Though raised within the same tradition-bound crucible, the two women – Noe and Riu – are portrayed as diametric opposites; the former meek but affectionate, the latter strong-willed but jaded by a tryst with metropolitan life. Nonetheless, Honda provides equal weight to their desires and their ambitions to break free from the social mold imposed upon them from birth.

A Japanese adaptation of Guy de Maupassant's short story Boule de Suif, directed by Kimura Keigo

Wataru Naohiko who has the prosecutor general as his father became a young composer and its symphony "saint" invoked the world echoed. But his disciple Uchiyama and his best friend prosecutor Daisuke Toki accused his music as a sesame of pause-only technique, not a truly heart-hungry art.

Woman melodrama by Shiro Toyoda

During his summer holiday, Kawasaki Ryuichi (Ryuzaki Ichiro), a handsome engineer in his late twenties, visits his teacher and mentor, Professor Inagaki (Sugai Ichiro), at his seaside home. There he meets the professor's lovely young wife, Sachiko (Hamada Yuriko), and is unsettled by the striking resemblance she bears to his wife, who died three years earlier. Attracted to Sachiko, he does his best to hide his feelings. The couple, however, senses a deep-seated melancholy in him. Attributing it to the loss of his wife, they urge him to marry their niece, Kaoru, but he is not interested. Shortly after, Fumiko , Sachiko's older sister, realizes that Sachiko and Kawasaki have feelings for each other, but she keeps her counsel. One day Kawasaki, Sachiko, and Kaoru go boating when a storm forces them to stay overnight at a hotel. Unable to sleep, Kawasaki takes a walk along the beach where he finds Sachiko, also unable to sleep. He declares his love for her.

楽しくなるはずの日曜日のデートでことごとく厳しい現実に遭遇して落ち込む恋人たちが、最後にはそれでも明るい未来に希望を抱き絆を強める姿を巨匠・黒澤明監督が描いた瑞々しい感動編。とある日曜日にデートを計画した雄造と昌子。でも、手持ちのお金はたった35円。お金がないなりになんとか工夫して楽しいデートをと考えるのだが、そんな二人に容赦ない現実が待っていた。すっかり惨めな気持ちになって帰路につく二人だったが…。

A small community in wartime Japan learn how to make do with less.

A self-absorbed young actor humiliates an elderly Noh performer, who then commits suicide. His act of cruelty compels his father to disown him, leading the once promising actor to a life on the streets. But his desire to win back the respect of his father and the affection of the dead actor's daughter pushes him toward a more noble existence. Naruse employed a delicately structured mise-en-scene in this family melodrama, which evokes the work of Josef von Sternberg.

The title might sound shocking, but the red hands mean, the hands which drag fishnets. Ohama, 15 or 16 years old girl lost her family and lived alone in a fishermen's village. She is a strong-minded girl and very popular among young children. I guess that this story is one of the origins of girl's manga in the 1950s in which I belonged to the first generation of Japanese story manga.

1941 Toho adaptation of Natsume's novel.

Japanese propaganda film

Song of the White Orchid was a co-production of Toho and Mantetsu, the railway that served the colonial region of Manchuria, and the first film in the Kazuo Hasegawa/Shirley Yamaguchi (Ri Koran) “Continental Trilogy.” Handsome Hasegawa (representing Japan) runs up against an impertinent Yamaguchi (representing the continent); not surprisingly, in the course of the film the woman comes around and realizes the benevolent intentions of the Japanese. In Song of the White Orchid Yamaguchi leaves Hasegawa, who plays an expatriate working for the railway, because of a misunderstanding. She joins a communist guerilla group plotting to blow up the Manchurian railway. Learning of the subterfuge that led to the misunderstanding, she renews her faith in Hasegawa—and by extension Japan—and tries to undermine the plot.

The Whole Family Works, Mikio Naruse's adaptation of a Sunao Tokunaga novel, feels more of a piece with the writer/director's quietly observant and psychologically charged later work. For the Naruse-familiar, it is an anomaly only in its placement within his filmography—indeed, this could be a film made by the elder, stasis-minded Naruse momentarily inhabiting, through a metaphysical twist of fate, his stylistically exuberant younger self. Set in depression-era Japan around the time of the Sino-Japanese War (which the director evokes, during a brief dream sequence, by dissolving between children's war games and actual adult warfare), The Whole Family Works gently observes a family coming apart at the seams. Ishimura (Musei Tokugawa) is the jobless father of nine children.