Reikô Tani

Poor social conditions badly affect the relationship between a married couple, when the husband, who is desperately searching for work, fails to notice the terrible sacrifices made by his wife when she accepts a job at a local inn.

Shuhei Horikawa, a poor schoolteacher, struggles to raise his son Ryohei by himself, despite neither money nor prospects.

After the death of her husband, Mrs Toda and her youngest daughter receive a frosty welcome from the extended family.

On vacation's eve, a boy is sent to the countryside to live with his uncle after his father is imprisoned and accused of embezzlement.

A Japanese screwball comedy about the battle between the sexes: two timid men, egged on by their wives, end up in a bitter duel over an expensive lace handkerchief.

Kinuyo is a daughter of doctor of Chinese medicine, and Yasuo is a son of surgeon. Their families always fight like cat and dog. This relationship is ancestral. Although Kinuyo and Yasuo love each other, they have different thoughts toward treatments.

Three men fall in love with the same young girl who works in a tonkatsu restaurant in the Shitamachi district of Tokyo.

The eldest daughter of a noble family is in love with an aviator while being courted by a fellow aristocrat she thinks is a dullard. This part is told from the perspective of Akemi.

In Depression-era Japan, a courteous bus driver carries an eclectic group of passengers from the mountainous Izu to Tokyo,

Family drama. A middle-aged father has just married off his third daughter, but still has his nine year old son to raise whom he resents as he was unwanted. (British Film Institute)

If you throw this child away

An aging actor returns to a small town with his troupe and reunites with his former lover and illegitimate son, a scenario that enrages his current mistress and results in heartbreak for all.

Mikio Naruse’s final silent film is a gloriously rich portrait of a waitress, Sugiko, whose life, despite a host of male admirers and even some intrigued movie talent scouts, ends up taking a suffocatingly domestic turn after a wealthy businessman accidentally hits her with his car.

Heinosuke Gosho evokes in this film the family conflicts engendered by the eternal problem of a father who projects his professional desires on the life of his son. The sister Machiko is the essential link that will allow everyone to apologize to each other and achieve reconciliation

Two Tokyo co-workers come across a destitute young lady in search of a place to live.

In the formally ravishing Every-Night Dreams, set in the dockside neighborhoods of Tokyo, a single mother works tirelessly as a Ginza bar hostess to ensure a better life for her young son—until her long-lost husband returns.

A gangster tries to find redemption with the inadvertent help of an innocent shop girl and his jealous girlfriend will do anything to keep him.

"The Dancing Girl of Izu" tells of the story between a young male student who is touring the Izu Peninsula and a family of traveling dancers he meets there, including their youngest girl. The student finds the naïve girl attractive even though he eventually has to part with the family after spending memorable time together.

This pair of gentle yet witty and inventive comedies from the director of The Neighbour's Wife and Mine typify both the formal experimentation of early Japanese sound cinema and the social milieux that Shochiku tended to depict. 'Virtually plotless, and feeling more like comic sketches than fully developed stories,' writes Arthur Nolletti, Jr, 'these light comedies, or farces, take a wholly trivial matter (often a socially embarrassing situation) and use it as a springboard for a succession of gags.' Much of the films' distinction comes from the wit of Gosho's direction, the imaginative use of the new sound technology and the charm of the acting, particularly of the heroines (Kinuyo Tanaka in Bride; Hiroko Kawasaki in Groom). Yet in both films, Gosho finds room for some shrewd observation of character and environment, subtly exploring the values and assumptions of the suburban petit bourgeoisie.

A student comes up with various schemes to avoid paying a tailor the money he owes him. Considered to be a lost film.

Kato's splendid mustache is an obstacle when it comes to finding a job. However, he gets a job as a security guard at a construction site. The president of the construction company tries to grow a mustache like Kato's and, failing, orders Kato to shave off his.

Mr. Omura, a teacher, leads a group of male students in an outdoor drill. One slight, comic young man, Shinji Okajima, has no shirt under his jacket; he scratches at fleas and makes faces behind Omura's back. Jump ahead several years, Shinji is married with three children. He sells insurance, and on the company's annual bonus day, he protests when an older worker is fired. Shinji loses his own job as a result, and he and his wife must find ways to cope. Lassitude, pride, the demands and needs of young children, and relationships from bygone school days all play a part in the outcome of their struggle.