Seiji Miyaguchi

Kô Nishimura

Keiko Ogasawara

Kazuko Motohashi

In Kabuki style, the film tells the story of a remote mountain village where the scarcity of food leads to a voluntary but socially-enforced policy in which relatives carry 70-year-old family members up Narayama mountain to die. Granny Orin is approaching 70, content to embrace her fate. Her widowed son Tatsuhei cannot bear losing his mother, even as she arranges his marriage to a widow his age. Her grandson Kesa, who's girlfriend is pregnant, is selfishly happy to see Orin die. Around them, a family of thieves are dealt with severely, and an old man, past 70, whose son has cast him out, scrounges for food. Will Orin's loving and accepting spirit teach and ennoble her family?—

The Ballad of Narayama

The Ballad of Narayama (1958)

Haruo Tanaka

Eijirô Tôno

Hiroyuki Nagato

Two twin girls are separated at birth. One grows up in a loving family. The other one doesn't. They finally meet by complete accident on a town fair. No one ever told them about the other one so they begin familiarizing with each other.

Twin Sisters of Kyoto

Twin Sisters of Kyoto (1963)

Ayako Wakao

Eiji Funakoshi

Katsuhiko Kobayashi

lchiro, the president of Mihara and Co., is henpecked by his wife Momoko, a clever and beautiful woman, but prattling and intrusive. She makes her younger sister Nashiko marry lchiro's younger brother, Jiro, manager of his company and now plans to marry her youngest sister Kyoko to her husband's youngest brother, Saburo. This means her domination of the Miharas and their business, a fine triple play which would gain her the title of "The Most Valuable Madam." However, in opposition to Momoko, Kyoko boldly declares that she will never marry Saburo. However Saburo is a most attractive young man and attracts Kyoko. Will she or her elder sister be able to win the title of "The Most Valuable Madam"?

Saikô shukun fujin

Saikô shukun fujin (1959)

Chishû Ryû

Chieko Baishô

Kiyoshi Atsumi

After Torajiro's latest attempt to find a bride goes awry, he starts traveling again and runs into Utako (last seen in Tora-san's Dear Old Home), now a widow.

Tora-san's Lovesick

Tora-san's Lovesick (1974)

While Sakura and Hiroshi struggle to save funds to build a house, Torajiro befriends three young women on vacation during his travels.

Tora-san's Dear Old Home

Tora-san's Dear Old Home (1972)

Toshirô Mifune

Yoshio Inaba

In the turn of the Twentieth Century, the rickshaw driver Matsugoro "Matsu" is a happy man and a troublemaker well-known by everyone in his village. One day, Matsu sees an injured boy, Toshio, and brings him home. His mother Yoshiko Yoshioka asks Matsuo to take the boy to the doctor and then her husband Capt. Kotaro Yoshioka asks her to reward Matsu. However the rickshaw man refuses the money and becomes a friend of the family. When Kotaro unexpectedly dies, Matsuo helps Yoshiko to raise her son. Soon he falls in love with her, but he does not dare to open his heart to Yoshiko since they belong to different social classes.—Claudio Carvalho, Rio de Janeiro, Brazil

The Rickshaw Man

The Rickshaw Man (1958)

Kyôko Kishida

Jun Hamamura

Ushimatsu (Rentarô Mikuni) is a member of the burakumin caste, a Japanese minority descended from the outcast communities of the feudal era. Discrimination against the burakumin has been officially outlawed, although it is still the de facto way of life in early 20th century Japan. Disguising his background, Ushimatsu is able to attend university and eventually become a schoolteacher himself, but after a friend is murdered, he must risk everything to seek justice.

The Outcast

The Outcast (1962)

Muga Takewaki

Takashi Fujiki

Just released from prison after serving three years for murdering a member of a rival gang, Maraki, a middle-aged yakuza, returns to his old haunts in Tokyo largely out of loyalties despite not much liking that life or himself in the process. Those old routines include assuming his place within the Funada gang, reconnecting with Shinko, his twenty-three year old girlfriend, who wants a commitment from him (something he probably isn't willing to give), she threatening to accept another marriage proposal otherwise despite her love for him, and gambling at his usual illegal card den despite he not often winning. Although at first glance he thinks nothing has changed in three years, there are some major changes, especially that the Funada gang has merged with that rival gang partly to maintain the peace. One other change is that an innocent looking, young, upscale woman, Saeko, she the only female, has started gambling at that same card den, that innocent look beyond the fact that she likes to play big. He becomes her mentor and protector of sorts in he introducing her to an illegal card den with higher stakes, which is what she is seeking. In spending more and more time with her and in a chance encounter, Maraki not only begins to understand Saeko in she not being the total innocent her may have first assumed, especially in her curiosity with Yoh, the seeming drug addict cowering in the corner of the card den, but evaluates his ritualized life in the process.—Huggo

Pale Flower

Pale Flower (1964)

Takashi Shimura

Tatsuya Nakadai

Masahiko Tsugawa

A woman marries, gives birth to a stillborn child, and divorces, falls in love with a hotel-keeper, only to find herself subordinated to his drive for success, takes up with a tailor who cannot console himself with her strong personality.

Untamed Woman

Untamed Woman (1957)

Yoshiko Kuga

Sô Yamamura

Natsuko Kahara

Three stories about suffered women in the Meiji era. Story 1: Jusan'ya/The Thirteenth Night - A young woman abandons her family, encounters a man she fancied in her adolescence, and leaves him without neither of them declaring their mutual love. Story 2: Otsugomori/On the Last Day of the Year - Forced by poverty and family needs, a maid is forced to take money from her employers, but her fault is covered by the fact the employers' only son has taken so much more money that her two yen are not found out. Story 3: Nigorie/Troubled Waters - In the red light district, a man falls into decay and poverty, and ultimately loses his honor and life for the love of geisha.—Artemis-9

Nigorie

Nigorie (1953)

Catherine Deneuve

Jean Seberg

Jean-Luc Godard

Four swindle stories, taking place successively in Tokyo - Japan (Les cinq bienfaiteurs de Fumiko), Amsterdam - The Netherlands (La riviere de diamants), Italie (La feuille de route), and Paris - France (L'homme qui vendit la tour Eiffel).

The World's Most Beautiful Swindlers

The World's Most Beautiful Swindlers (1964)

Keiko Tsushima

The Kamiya family struggles to keep the town fishing association from going bankrupt as they deal with a dishonest captain and his degenerate crew.

Umi no hanabi

Umi no hanabi (1951)

Bokuzen Hidari

The adventures of a ronin, a samurai without a feudal lord, trying to achieve safety in a neighbouring domain.

Samurai from Nowhere

Samurai from Nowhere (1964)

Masayuki Mori

Kunio Teshirogi

Two journalists and their lovers share an uncertain future.

Zen-ma

Zen-ma (1951)

Kei Satô

Eitarô Ozawa

Eiji Okada

The legendary samurai Sasuke Sarutobi tracks the spy Nojiri, while a mysterious figure named Sakon leads a band of men on their own quest for the wily Nojiri. Soon no one knows just who is who and what side anyone is on.—Jim Beaver

Samurai Spy

Samurai Spy (1965)

Keiko Awaji

Fumio Watanabe

Perhaps Kobayashi's most sordid film, Black River is an exposé of the rampant corruption on and around U.S. military bases following World War II. Kobayashi spirals out from the story of a love triangle that develops between a good-natured student, his innocent girlfriend, and a coldhearted petty criminal (Tatsuya Nakadai, in his first major role) to diagnose a social disease that had Japan slowly succumbing to lawlessness, devolving into gangsterism, violence, and prostitution.—Anonymous

Black River

Black River (1957)

Tanie Kitabayashi

Kazuo Kitamura

Sadako was raised as a maid in the household of her husband, who continues to treat her as a serf. While the husband is away, Sadako is rapedan act that jars loose an indomitable instinct for survival. A bizarre relationship develops between the rapist, who continues to stalk the frightened woman with both tender and violent professions of love, and Sadako, whose intentions to murder him lead to a remarkable denouement

Intentions of Murder

Intentions of Murder (1964)

Minoru Chiaki

Kunie Tanaka

On his deathbed, a wealthy businessman announces that his fortune is to be split equally among his three illegitimate children, whose whereabouts are unknown to his family and colleagues. A bevy of lawyers and associates then begin machinations to procure the money for themselves, enlisting the aid of impostors and blackmail. Yet all are outwitted by the cunning of the man's secretary (Keiko Kishi), in this entertaining condemnation of unchecked greed.—Anonymous

The Inheritance

The Inheritance (1962)

Isidro Puig Boada

Antoni Gaudí

Hiroshi Teshigahara's camera takes us over, under, around, and into buildings and a park designed by Antonio Gaudí (1852 - 1926), Catalan architect, ceramist, and sculptor. Teshigahara suggests the influence of Romanesque churches and monasteries on Gaudí and the influence of the caves and crags of Montserrat, close to Barcelona. Every line of Gaudí's seems curved, and no surface is without textures. With little narration, the film takes us through Casa Vicens, projects for the industrialist Güell (including the Crypt of the Colònia Güell and Park Güell), Casa Batlló, Casa Milà, and Barcelona's landmark, the unfinished Templo de La Sagrada Familia.—

29 YIFY Movies Found

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