Tatsuya Nakadai

Minoru Chiaki

Machiko Kyô

Kunie Tanaka

A businessman facially scarred in a laboratory explosion receives treatment from a psychiatrist, and obtains an amazingly life-like mask from the doctor. Soon after being fitted for the mask, he attempts to seduce his wife and succeeds. But his wife claims she was aware all along who he was and believed that both were just masquerading together as men and women do in different ways. Strangely enough, his personality seemingly begins to change after he puts on the mask as if the mask has influenced his personality. His new identity does not enable him to reintegrate into society after all. A subplot is inserted in fragments. A good-natured young woman, the right side of whose face is disfigured, has been hurt by others' inquisitive eyes and insults, and has been shunned by men. She asks her older brother, the only man who understands her pain and solitude, to make love to her, hiding from him the intent of killing herself afterwards.—Prion

The Face of Another

The Face of Another (1966)

Marlon Brando

Harry Morgan

Glenn Ford

This comedy-drama is partially a gentle satire on America's drive to change the world in the post-war years. One year after World War II, Captain Fisby is sent to the village of Tobiki in Okinawa to teach the people democracy. The first step is to build a school--but the wily Okinawans know what they really want. They tell him about their culture and traditions--and persuade him to build something they really want instead: a teahouse. Fisby has a hard time breaking this news to his superiors.—Tom Zoerner

The Teahouse of the August Moon

The Teahouse of the August Moon (1956)

Chishû Ryû

Eiji Funakoshi

Kuniko Miyake

A film adaptation of the autobiography of Aishinkakura Hiro, who lived a tumultuous life as the consort of Fuketsu, the younger brother of Emperor Puyi of Manchukuo.

Ruten no ôhi

Ruten no ôhi (1960)

Chieko Baishô

Kiyoshi Atsumi

When Tora-san's infatuation with his nephew's school teacher causes family turmoil, he leaves on his travels again. When he returns, he falls in love with the teacher's mother, who has a terminal illness.

Tora-san's Heart of Gold

Tora-san's Heart of Gold (1976)

Yoshiko Kuga

Masayuki Mori

In Older Brother, Younger Sister, director Mikio Naruse's adaptation of an oft-filmed popular novel by Saisei Murô, the eldest daughter (Machiko Kyô) of a rural family comes home pregnant, testing some already tenuous family bonds. Naruse shows his considerable skill at portraying household dynamics, filming Kyô in relaxed and/or reclining positions (indicative of her character's exhaustively maintained independence) that are then intruded upon by her ill-tempered older brother (Masayuki Mori), whose initially comic, brute-force presence grows increasingly menacing and treacherous as the film progresses.

Older Brother, Younger Sister

Older Brother, Younger Sister (1953)

Ayako Wakao

Tamao Nakamura

An all-star cast from Daiei Film Company has made "the ultimate Jirocho movie" about the legendary yakuza Shimizu no Jirocho, the biggest Boss in the Tokaido area.

Jirôchô Fuji

Jirôchô Fuji (1959)

Tanie Kitabayashi

Eijirô Tôno

An Indian prince leaves his world of comfort and riches behind to wander and meditate for six years in search of spiritual enlightenment. Siddartha turns his back on the old religion when people are starving needlessly.

Buddha

Buddha (1961)

Kikuji is the scion of an Osaka merchant family whose traditional power is matrilineal. Instructed by his overbearing mother and grandmother to give them an heiress for the family business, he stands by helplessly as his wife is thrown out of the house for producing a son. Driven to a life of dissipation - his mistresses also fail to produce daughters - in the end he is just too tired to care. The film presages Ichikawa's The Makioka Sisters in its World War II nostalgia and visual sophistication.—Japan film feastive

Bonchi

Bonchi (1960)

Eitarô Ozawa

Sô Yamamura

In 8th-century China, the Emperor is grieving over the death of his wife. The Yang family wants to provide the Emperor with a consort so that they may consolidate their influence over the court. General An Lushan finds a close relative working in their kitchen whom they groom to present to the Emperor. The Emperor falls in love with her and she becomes the Princess Yang Kwei-fei. The Yangs are then appointed important ministers, though An Lushan is not given the court position he covets. The ministers misuse their power so much that there is a popular revolt against all the Yangs, fueled by An Lushan.—Will Gilbert and Brian McInnis

Yôkihi

Yôkihi (1955)

Jun Tazaki

Eiichi Kusumoto

Gen Shimizu

In 1160, in the Heian Period, Lord Kiyomori travels with his court to another feud and his Castle Sanjo is invaded by two other lords, in a coup. The loyal samurai Moritoh Enda asks the court lady Kesa to pose of the lord's sister to create a diversion while the lord's real sister and his father flee in the middle of the people. Then Moritoh travels to meet Lord Kiyomon and fights with him to defeat the enemies and the coup fails. Lord Kiyomon rewards the warriors that helped him and when he asks Moritoh what he wishes, he requests to marry Kesa. The lord grants his wish but soon he learns that Kesa is married with Wataru Watanabe, a samurai from the imperial guard. Moritoh harasses Kesa and threatens her, promising to kill her husband, her aunt and her if she does not marry him. Kesa's decision leads the trio to a tragic fate.—Claudio Carvalho, Rio de Janeiro, Brazil

Gate of Hell

Gate of Hell (1953)

Haruo Tanaka

Kokuten Kôdô

Five prostitutes work at Dreamland, in Tokyo's Yoshiwara district. As the Diet considers a ban on prostitution, the women's daily dramas play out. Each has dreams and motivations. Hanae is married, her husband unemployed; they have a young child. Yumeko, a widow, uses her earnings to raise and support her son, who's now old enough to work and care for her. The aging Yorie has a man who wants to marry her. Yasumi saves money diligently to pay her debt and get out; she also has a suitor who wants to marry her, but she has other plans for him. Mickey seems the most devil-may-care, until her father comes from Kobe to bring her news of her family and ask her to come home.—

Street of Shame

Street of Shame (1956)

Komajuro Arashi, referred to as Master by his colleagues, is the lead actor in a second rate traveling acting troupe in Japan, they performing grand kabuki. The troupe's next stop is a coastal town they haven't performed in in twelve years, that last time before some, such as Komajuro's girlfriend Sumiko, joined the troupe. As usual, some of the men will try to have some fun pursuing some of the local women, sometimes with success, and sometimes not. Komajuro has his own agenda in coming to this town, only something that a few of the older troupe members know, in that he fathered a son here close to twenty years ago, said son, Kiyoshi, who has been told that his biological father died when he was a child and that Komajuro is his mother Oyoshi's brother, hence his uncle. Komajuro has been sending money to Oyoshi all these years, which is allowing Kiyoshi soon to go off to college, hence a better life than Komajuro as an itinerant actor leads. Komajuro wants to spend as much time as possible with Kiyoshi and Oyoshi as possible before the troupe and thus he has to leave again, he needing to sneak off from an unsuspecting Sumiko to do so. But when Sumiko discovers what's going on, Kiyoshi becomes a pawn in the battle between Sumiko and Komajuro.—Huggo

Floating Weeds

Floating Weeds (1959)

Kazue Tamaki

In the beginning of the springtime in the period of the Japanese Civil Wars of the Sixteenth Century in Lake Biwa in the Province of Omi, the family man farmer and craftsman Genjurô travels to Nagahama to sell his wares and makes a small fortune. His neighbor Tobei that is a fool man dreams on becoming a samurai, but he can not afford to buy the necessary outfit. The greedy Genjurô and Tobei work together manufacturing clay potteries, expecting to sell the pieces and enrich; however, their wives Miyage and Ohama are worried about the army of the cruel Shibata that is coming to their village and they warn their ambitious husbands. Their village is looted but the families flee and survive; Genjurô and Tobei decide to travel by boat with their wives and baby to sell the wares in a bigger town. When they meet another boat that was attacked by pirates, Genjurô decides to leave his wife and son on the bank of the river, promising to return in ten days. Genjurô, Tobei and Ohama raise a large amount but Tobei leaves his wife to buy the samurai outfit and seek fame and fortune. Meanwhile the female aristocratic Lady Wakasa and her servant ask Genjurô to bring her shopping to her fancy Kutsuki House. Sooner Genjurô and Tobei discover the price they have to pay for their ambition.—Claudio Carvalho, Rio de Janeiro, Brazil

Ugetsu

Ugetsu (1953)

Toshirô Mifune

Takashi Shimura

A priest, a woodcutter and another man are taking refuge from a rainstorm in the shell of a former gatehouse called Rashômon. The priest and the woodcutter are recounting the story of a murdered samurai whose body the woodcutter discovered three days earlier in a forest grove. Both were summoned to testify at the murder trial, the priest who ran into the samurai and his wife traveling through the forest just before the murder occurred. Three other people who testified at the trial are supposedly the only direct witnesses: a notorious bandit named Tajômaru, who allegedly murdered the samurai and raped his wife; the white veil cloaked wife of the samurai; and the samurai himself who testifies through the use of a medium. The three tell a similarly structured story - that Tajômaru kidnapped and bound the samurai so that he could rape the wife - but which ultimately contradict each other, the motivations and the actual killing being what differ. The woodcutter reveals at Rashômon that he knows more than he let on at the trial, thus bringing into question his own actions. But another discovery at Rashômon and the resulting actions from the discovery bring back into focus the woodcutter's own humanity or lack thereof.—Huggo

Rashomon

Rashomon (1950)

14 YIFY Movies Found

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