When a broadcasting company takes away its financial support from a symphony orchestra, some of the members refuse to admit defeat. The first violinist returns to his home and manages to get the orchestra back together for a grandiose performance, saved at the last minute by their original conductor -- and boding well for the future of the die-hard musicians.
The story is set in Bakumatsu and revolves around the Bunta Sugawara character, a yakuza (of course :) but instead of a modern yakuza/gangster, he's a gambler/bakuto). After he kills someone and gets wound, is saved by a blind woman (Mitsuko Baishô), who took care of him. They has a happy time under the protection of the Tomisaburo Wakayama character, an oybun. But of course, happy time doesn't last long. The story is also related to Okada Izo and the Shinsengumi (w/ Kondo Isami played by Makoto Sato)
Yuki, nasce dentro de uma prisão, e, desde seu primeiro minuto de vida, herda um legado obsessivo de vingança dos quatro malfeitores que mataram seu pai e estupraram sua mãe. Desde cedo ela é treinada em artes marciais, já crescida, sai em sua missão de vingança, armada com uma lâmina escondida no seu guarda-chuva.
Hamako has just started working for her personal hero, Madame Yuki. Her romanticized view of the Madame is broken immediately, though, as she is introduced with a ever-growing list of the Madame’s personal problems.
A Fond Face from the Past is also set in a rural community, specifically a village outside Kameoka, near Kyoto. In some ways this short, thirty-six-minute film is Naruse's most moving negotiation of the militarist restrictions of the time, perhaps because it is also his most direct engagement with the culture of war. When a newsreel comes to Kameoka featuring a local man named Yoichi, it causes some excitement in the community and, of course, in Yoichi's own family. First of all his mother makes the newsreel (Nippon News, no. 14), which begins with the same marching music that opens his own film, followed by a curious baby judging context in Los Angeles featuring two hundred Japanese babies. Released in January 1941, almost a year before the pacific war begins, this “found footage” is indicative of Japanese imperialist ambitions beyond Asia long before Pearl Harbor.
