A Straightforward Boy

A lighthearted take on director Yasujiro Ozu’s perennial theme of the challenges of inter­generational relationships, Good Morning tells the story of two young boys who stop speaking in protest after their parents refuse to buy a television set. Ozu weaves a wealth of subtle gags through a family portrait as rich as those of his dramatic films, mocking the foibles of the adult world through the eyes of his child protagonists. Shot in stunning color and set in a suburb of Tokyo where housewives gossip about the neighbors’ new washing machine and unemployed husbands look for work as door-to-door salesmen, this charming comedy refashions Ozu’s own silent classic I Was Born, But . . . to gently satirize consumerism in postwar Japan.

Later in his career, Ozu started becoming increasingly sympathetic with the younger generation, a shift that was cemented in Equinox Flower, his gorgeously detailed first color film, about an old-fashioned father and his newfangled daughter.

The Kohayakawa family is thrown into distress when childlike father Manbei takes up with his old mistress, in one of Ozu’s most deftly modulated blendings of comedy and tragedy.

Tokiko is a mother patiently waiting for her husband's return from the war when her 4-year old son becomes ill. She takes him to the doctor for treatment but has no way of paying. She resorts to prostitution. One month later her husband returns from WWII to find his desperate wife, who tells him the truth. Together they must deal with the consequences.

Setsuko is unhappily to Mimura, an engineer with no job and a bad drinking habit. She had always been in love with Hiroshi but both of them failed to propose when Hiroshi left for France a few years ago. Now he is back and Mariko (Setsuko's sister) tries to reunite them. She too is secretly in love with Hiroshi.

Tokiko leads a double-life as an office typist and the mistress of a retired champion boxer and small-time ringleader named Jyoji. Hiroshi, a new recruit to the gang, hero worships Jyoji and neglects his studies. Hiroshi's sister Kazuko begs Jyoji to spare her brother from their shady dealings, but inadvertently casts a spell on Jyoji. After several reversals, Jyoji returns to Tokiko's arms. They decide to come clean, but not before pulling one last job to help Hiroshi and Kazuko.

In a back alley of the Shitamachi district of Tokyo, Kihachi bears witness to a series of romantic complications involving the inhabitants of the neighborhood. Considered to be a lost film.

Two reporters find that they are repeatedly beaten to the scoop by a new female journaist, 'young miss'. They decide to team up with her to investigate a secret club for wealthy voyeurs. Considered to be a lost film.

Comedy about a young man juggling several girlfriends. Considered to be a lost film.

A young man falls for one of the geisha working in the house where he lives. However, the romance doesn't find favour with his father or current girlfriend. Considered to be a lost film.