Isao Kimura
Documentary made by Toho for the Masterworks reissue of all of its Kurosawa films. This one focuses on "Stray Dog" (1949).
The 24th NHK Asadora. Starring Senri Yamazaki as a woman who makes her life at a fishing port.
Kindaichi becomes involved in the case of an actress whose husbands keep dying mysteriously — and her new fiancé has just received a threatening letter.
A wealthy Japanese sugar factory manager in Hawaii finds his wife sinking into depression and madness.
In the sixth and final film of the Lone Wolf and Cub series, the final conflict between Ogami Itto and the Yagyu clan is carried out.
A young boys' coming of age tale set in a strange, carnivalesque village becomes the recreation of a memory that the director has twenty years later.
In this intricately layered Japanese film, the nature of actresses and what they gain from acting is explored. The lives of three actresses are laid bare, and scenes from their lives are woven in and out of interviews with each of them. Each of them has experienced a traumatic event which contributes to their particular enjoyment of becoming someone else in dramatic roles.
Second delivery in the "Yakuza Hijoshi" series. The protagonist, played by Ando Noboru, is torn between the organization and his old friends.
A film about the construction of the Kasumigaseki Building, the first high-rise building in Japan.
In an isolated mountain resort, a woman gets involved in a love triangle between herself, her volatile lover and her ex-boyfriend, for whom she had platonic feelings.
A gangster named Sagara, at the request of a friend named Oba, killed a broker, was arrested and spent eight years in prison. Now released, he wants to find out who squealed on him.
Japanese sixties comedy featuring a cunning female jewel thief named Black Lizard who tries to kidnap Sanaye, a wealthy jeweler's beautiful daughter as part of a plot to steal the jeweler's expensive "Star of Egypt" diamond. To thwart the planned kidnapping, the jeweler hires Japan's number one detective, the brilliant Akechi. This sets off a dual between Black Lizard and Akechi as each tries to outwit the other. In the process, the two adversaries develop a mutual respect and affection for each other. Despite Akechi's efforts, Black Lizard and her crew are able to kidnap Sanaye and gain possession of the "Star of Egypt". Black Lizard takes Sanaye to her secret lair on a remote island which is populated by an eerie collection of naked human dolls. There Black Lizard plans to preserve Sanaye's beauty forever by turning her into one of her dolls. As Sanaye's doom quickly approaches, it is up to Akechi to save the day.
Writer Jippensha Ikku hears Tsutaya Juzaburo, a wholesaler of picture books, mutter on his deathbed, "Where has Sharaku gone?" He begins to figure out the true identity of Sharaku, who disappeared after about 150 portraits of actors he created came out.
As a young woman, Oriko condemned her widowed mother for openly pursuing relationships with younger men. After her mother passes away, she finds herself in an unhappy, loveless marriage and begins to understand her mother’s actions.
Loyal samurai Samanosuke is attacked, mutilated, and left for dead while carrying out a mission for his clan. He recovers but has lost an eye and an arm. Taking a new identity as Tange Sazen, he searches for a stolen urn which has hidden significance to his clan. But Tange Sazen has his own reasons for seeking the urn.
This movie is based on an immortal literary work "The Snow Country," a story about a life of geisha Komako who lives in a region with heavy snowfalls.
The fifth and final installment with the build up of the epic battle between Sasaki Kojiro and Miyamoto Musashi. With all the familiar characters making appearances: Otsu (Musashi's great love), Akemi, Matahachi (his former fellow soldier), old lady Osugi (still doggedly trying to defeat Musashi), and even the return of Priest Takuan (the man responsible for his journey towards enlightenment). But most of all, the boastful, long-haired and long-sworded Sasaki Kojiro.
In the fourth installment, Musashi's potentially greatest opponent Kojiro jumps in and out of the story at the oddest and most coincidental moments. As his great love Otsu has succumbed to madness. Musashi then sets off to beat the functionaries of a treacherous clan in an arranged duel. 73 against one. Boastful Kojiro watches, secure in the knowledge that only he is a worthy opponent.
A headstrong young man seeks to join the Shinsengumi, but while his determination impresses his superiors, questions begin to arise as to his true identity and intentions.
Yoshie Nogami, a factory worker by day, moonlights as a hostess at a bar. One of the regulars, Eiji Kitami, invites her out on a date. Still only 19, she goes along out of curiosity and ends up spending the night at a hotel where she gives herself to him. They begin a passionate love affair and move in together, after which Yoshie begins skipping work at the factory and rarely returns to her family home. Before long, Eiji’s demeanor changes and he begins to constantly ask her for money. Despite claiming to be a businessman, he is actually a local thug, and his inability to pay his dues to his gang leads him to force Yoshie into prostitution. Driven by fear and resignation, she begins to entertain clients at Eiji’s apartment but flees when she is asked to pick up customers on the streets. However, a few days later she is captured by members of Eiji’s gang and subjected to a brutal lynching.
Assassination begins with the events of 1853 when "four black ships" anchored at Edo Bay, sparking civil unrest and the major political manoeuvring that saw the end of the Tokugawa Shogunate. At a time when assassination had become a disturbing political tool, Shinoda's film follows Hachiro Kiyokawa, an ambitious, masterless samurai whose allegiances drift dangerously between the Shogunate and the Emperor.
An executive of a shoe company becomes a victim of extortion when his chauffeur's son is kidnapped and held for ransom.
In the third installment of Yoshikawa's novel Musashi, things continue from the 2nd film at the end of battle, where Miyamoto continues on a mission of learning; with the introduction of his arch-rival Sasaki Kojiro; and lastly the large cast of characters rendezvouses for a fateful finale.
After a salary-man's fiancée attempts suicide, he recounts his gruesome family history, which sees generations of his ancestors sacrificing themselves for the sake of their cruel lords. hey were samurai, the military nobility caste who carried out acts of violence at the behest of feudal lords, but suffered evenmore so under their cruelty, often forced into ritual suicide (seppuku). The women were under constant threat of kidnapping and rape,and the men subjected to arbitrary disfigurement and homosexual slavery...
Ryutaro Otomo as the Edo magistrate Umon Kondo is out to solve a crime that centers around the murder of a jail guard & the escape of a criminal who is later himself killed. His dying words in Umon's arms were, "I didn't kill the guard." The murdered criminal had been a safe-cracker & only his girlfriend knows where he hid a fortune. She is kidnapped, so the plot gets thicker & thicker.
Two obaachans become fast friends listening to music in front of a record store. They both boast about their loving sons but in reality, one had just escaped a retirement home and the other was looking for an escape from her son and daughter-in-law. With nowhere to go, the two wander around, befriending a cosmetics salesman and a kind waitress who give them beer. This biting social satire starring two memorable grandmothers, scripted by Yôko Mizuki, picked up on Japan’s aging population problem far ahead of its time.
Satoko is a mistress by trade, or fate: when her master, the silkscreen artist of the Kohoan Temple in Kyoto, dies, she is given to the temple's lascivious head priest Kikuchi. She is drawn to a melancholy young acolyte, Jinen, who has observed the profligacy of his cruel master and Satoko's utter dependence on the man. Jinen is both fascinated and disturbed by Satoko's interest in him; he is similarly caught between loathing of Kikuchi and of the dark circumstances of his birth and his own moral weakness. The story unfolds in a dreamlike manner, a flashback inspired by a now-infamous image on a silkscreen in the souvenir shop at the so-called Temple of the Wild Geese.
When two sisters fall in love with the same man, one must decide to look elsewhere.
A story about the lives of four sisters and their manipulative mother who must come to terms with each of their decisions in life.
The remake of Yoshikawa's novel continues with the second installment in which Takezo, soon to be Miyamoto Musashi, emerges from the Himeji Castle after three years of intense contemplation and philosophical study and starting on his epic quest to complete his skill in the Way.
In this first episode, we are introduced to Takezo, what Musashi used to be before he became the man of legend. His beginning are not exactly auspicious. He sides with the Toyotomi at Sekigahara, and as a result finds himself on the losing side of the historic battle. He and his friend Matahachi manage to escape the slaughter although the latter is wounded in his leg. They stumble across the young Akemi who makes her living with her mother Oko by robbing corpses of their armor and anything else they can sell. Oko takes it into her head to seduce Matahachi, which she does first by skillfully sucking the gangrene from his blood, and then just by sucking.
A successful textile industrialist from the provinces, who is beloved by his employees for his kindness, cannot find a wife because of a disfiguring birthmark on his face. Even the courtesans in Yoshiwara refuse to entertain him, until an indentured peasant prostitute, Tamarazu, takes the unsavoury assignment and treats him with brash tenderness.
Woman private eye Emiko goes undercover to reveal the truth of a murder case.
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.
Hayata and his best friend Ushijima came to Tokyo to become champions. Hayata repeatedly sought to join Tamura's boxing club, but Tamura fell in love with Ushijima's punch. Then Hayata decides to become Ushijima's manager and make good money on his friend's talent. Ushijima himself is a peaceful, kind guy who doesn't really like boxing, but under the wise guidance of Hayata, he starts to defeat one opponent after another...
Junai Monogatari AKA Story of Pure Love is about two poor youths, Mitsuko and Kando, rebelling against society in various ways, who are desperately trying to be together despite tortuous circumstances. The film depicts their lives as thieves, menial laborers who can get little pay, society outcasts, and of course, lovers. Junai Monogatari depicts, mostly, their struggles within the Japanese reformatory system and Mitsuko's worsening sickness.
Returning to their lord's castle, samurai warriors Washizu and Miki are waylaid by a spirit who predicts their futures. When the first part of the spirit's prophecy comes true, Washizu's scheming wife, Asaji, presses him to speed up the rest of the spirit's prophecy by murdering his lord and usurping his place. Director Akira Kurosawa's resetting of William Shakespeare's "Macbeth" in feudal Japan is one of his most acclaimed films.
Masaki Kobayashi directs this romantic drama concerning a family of florists.
Shizuka, Eiichiro, and Mineko, their father and son, live modestly in a certain suburb, leading a dreary but happy life. Eiichiro is troubled by Shizuka's desire to live together in familiar Tokyo. Mineko is the exact opposite of Eiichiro. A literary masterpiece depicting the fateful sorrow and humor of a mother and child
An ethical, young tax collector new to his area encounters increasingly absurd individuals and groups coping with their post-war woes.
Based on Philippines war experiences. Military doctor Leutenant Hanada deserts with a local girl. The officer in command orders Lieutenant Uji to shoot Hanada. Uji takes a sharpshooter called Takagi and tracks him. At first Uji cannot forgive Hanada but as Uji is isolated from the main force he too starts to think of desertion.
A samurai answers a village's request for protection after he falls on hard times. The town needs protection from bandits, so the samurai gathers six others to help him teach the people how to defend themselves, and the villagers provide the soldiers with food. A giant battle occurs when 40 bandits attack the village.
A movie that depicts the tragic fate of many Yokaren flight-academy pilots.
Onna Hitori Daichi wo Yuku (A Lonely Woman in a Lonely Land, Kinuta Production, 1953) was the second feature film directed by Kamei Fumio, who is known as a master of documentary films, and followed his “Haha Nareba Onna Nareba(Become a Mother, Become a Woman)” (1952).
Just before the end of the war, Japanese soldier Kitani is released from prison, having served his term for theft. Told in flashback, viewers learn about Kitani's past and reasons behind his prison sentence.
A story of a passionate teacher and his great effort for the children in a poor village.
A film by Kiyoshi Saeki. Very little information availabe. Listed at the JMDB
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.
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.
About the struggles of day labourers to achieve dignity and a standard of living above the starvation level. Utilising the Zenshinza theatrical troupe.
A Hibari Misora musical about an impoverished girl and her brother in Postwar Japan.
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.
A bad day gets worse for young detective Murakami when a pickpocket steals his gun on a hot, crowded bus. Desperate to right the wrong, he goes undercover, scavenging Tokyo’s sweltering streets for the stray dog whose desperation has led him to a life of crime. With each step, cop and criminal’s lives become more intertwined and the investigation becomes an examination of Murakami’s own dark side.
The stage director Shimamura, who is bringing western theatre to Japan, falls in love with the outspoken actress Sumako Matsui, and leaves his family to be with her, while trying to keep his Art Theatre solvent.
