Masaru Kodaka
Freelance reporter “Scoop” Machida is hot on the trail of a prostitution ring called the Black Line, when he is framed for the murder of a young woman. Forced to clear his own name, the handsome journalist sinks deeper into the Black Line’s rotten swamp of drugs, prostitution, and murder and finds unexpected help in Maya, a steamy female gambler familiar with the neon-lit streets, shadowy alleyways, and seedy nightclubs he must navigate. The closest film in the Line series to classic American film noir, Ishii’s Black Line is a pulpy assortment of crime film conventions including the starkly expressionistic black and white cinematography by Jûgyô Yoshida, a jazzy music score by Michiaki Watanabe, and a sleazy screenplay by Ishii and Ichirô Miyagawa.
Two women, an undercover cop, and a leader of the group of rude girls, defy the smuggling syndicate.
The film begins strongly, with an atmospheric opening sequence, predating John Carpenter's The Fog by two decades, of shuffling ghost-like zombies, blood streaming from their faces, rising from the waves to drag the workers of a deserted shipyard,swirling with dry ice, to their doom. The ghost's main target however is the village kingpin, and employer of the local diving girls, Satomura (played by Juzaburo Akechi). When his wife and youngest daughter are abducted, it is up to his remaining daughter Nami (Banri) and her ama companions to get to the bottom of the mystery, which again revolves around sunken treasure and a gang of swarthy crooks.
This time around, Sashichi is investigating a case of serial murders believed to be perpetrated by a giant bear.
Sashichi investigates the mysterious murders of four beauties, all of whom were stabbed in the chest.
Meiji Tenno portrayed the ramp up to the Russo-Japan War. In addition to showing the political events that led to war, it also showed the era from the story of a farm family in rural Japan who sent their son off to war. As such, it could be considered an anti-war movie, showing how, while war is devised by governments, the people do not really understand what war is, and it's combatants often do not know what they are fighting for.
A samurai rescues a mischievous tanuki from hunters and sets it free. When the samurai's wastrel son hatches a plot to kill his father for his fortune, the magical tanuki is determined to protect its rescuer.
The year is 1937, and it has been six months since the Sendai Infantry left for Manchuria. The rotted corpse of a young woman is found at the bottom of a well, but her face and limbs are gone. The military police begin an investigation and search fervently for the person responsible, but they can't even determine the victim's identity, much less find any clues. However, the incident is made public when newspapers give wide coverage to the story, so Staff Sergeant Kosaka is dispatched from Tokyo to solve the case. Eventually, General Tsunekichi is taken into custody by local infantrymen because of the testimony of another unit, but the spirit of the dead woman appears before Staff Sergeant Kosaka, who continues to investigate on his own...
Okaasan is the story of a poor, working class mother with a sick husband who sacrifices herself to support her family in suburban Tokyo. The film defines "Shomin Geki," a Japanese film genre that features realistic depiction of the economic underclass, told with elements of light comedy and melodrama. Okaasan is the best-known work of director Mikio Naruse, hailed by Japanese film historians as an equal of Kurosawa, Ozu and Mizoguchi, but under-appreciated in the West
Tanuma Kandayuu is a high class samurai of the house of Nabeshima. He finds a lavish board of Go (a Chinese Board game) at Kinbei's store. He recommend Kinbei to offer it to his lord. Kinbei hesitates at first, since he knows the board has a mysterious legend surrounding it; it's believed that for every game played on the board, one death is required.
This film focuses on Koreans living in Japan. The filmmaker’s humanism comes across in the portrayal of a girl living in a shabby tenement, the warmth of a Korean girl she meets, and the friendliness of this Korean girl’s family.
Toward the Decisive Battle in the Sky describes the challenging training of young boys in the Yokaren, a program feeding new pilots into the Army and Navy. By the time of the filming, the pressure of the war had led the government to shorten the training and expand the age range of the recruits. Yokaren was highly selective, and thus an object of great fascination and desire for boys and young men. In this Navy–sponsored film, Setsuko Hara plays the daughter of a family that often entertains recruits on their days off—a surrogate sister to many trainees. Her fragile younger brother aspires to join the program, but is rejected. With perseverance and much support from Hara and their mother, he surmounts his weaknesses and becomes a flier.
The premature death of a young mother serves as inspiration for her husband and son.
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.
Hideko, a young Baseball fan, determined to cheer for her favourite baseball team by creating a new song for them.
