Toshirô Mifune

Takashi Shimura

Akira Kubo

Setsuko Hara

A young lord attempts to combat the corruption endemic to the Shogunate bureaucracy, only to be placed in an impossible conflict of duties. He refuses to pay the "customary" bribe expected by a Chancellor sent from the Shogunate to teach him the etiquette for receiving envoys from the Emperor. In revenge, the Chancellor goads the lord into drawing his sword when the envoys are present, a crime punishable by death. The young lord is forced to commit ritual suicide for this crime. His vassals are ordered to turn over their lords estate for confiscation, forbidden to take revenge for their lords death, then disbanded as a clan. To obey the Shogun, the lords former samurai must follow those orders, but to be loyal to oaths they swore to their lord and have justice, they must avenge him. This conflict of obligations is the primary dilemma in Japanese society, which is why this story is considered their national epic. The story is richly woven and the film worth seeing for the gorgeous art works, buildings, and costumes of 18th century Japan alone.

Chushingura

Chushingura (1962)

Kamatari Fujiwara

Hajime Izu

Masao Mishima

When a post-war high school girl is seen with an older boy many find the nontraditional notion unacceptable and try to trick the girl and also assail her right to continue the relationship. Cue her teacher who not only supports the girl, but encourages her pupils to do as they wish and ignore what society indoctrinates. Not everyone agrees with the teacher and her modern ideas however.—aghaemi

Aoi sanmyaku

Aoi sanmyaku (1949)

Fuyuki Murakami

Keiju Kobayashi

Akemi Negishi

This wry chamber piece from director Mikio Naruse focuses on a couple whose pet peeves and minor irritations escalate into major rifts and animosity.

Sudden Rain

Sudden Rain (1956)

Yôko Sugi

Michiyo Kogure

In this sequel to Aoi sanmyaku (1949) the focus is not on the students', but the teachers' life. When one day a love letter is discovered it escalates into case over which teacher and students clash. The incident blows up and there is a dispute about the truth leading to a parent-teacher association meeting. There is a vote on who is correct, which in turn leads to the teacher's version winning out. A thief is soon caught at the headmaster's office with the perpetrator being none other than one of the students trying to steal the love letter. This leads to a confession and an apology.—aghaemi

Zoku aoi sanmyaku

Zoku aoi sanmyaku (1949)

Chishû Ryû

Michiyo Aratama

Approaching his senior years, widowed Manbei Kohayagawa is the owner of a small family run sake brewery in Kyoto. Hisao, his daughter Fumiko's husband, works for the company. Another daughter, Osaka based Akiko, who works at an art gallery, is widowed, her deceased husband who decided not to work in the family business, but maintain his own career as a college professor. Kohayagawa's third and last daughter, Noriko, a clerk in an office, has never been married, but is now of marrying age. Because the business is not doing well as it cannot compete with the larger sake companies, Kohayagawa wants to ensure that all his daughters are taken care of financially, which means finding husbands for both Akiko and Noriko, that task which is aided by Kohayagawa's younger brother-in-law, Yanosuke Kitagawa. Akiko and Noriko know about the arrangements with the potential husbands - although Akiko's first "date" is more of a surprise to her - and generally go along with the dates as are requested of them, but neither is sure if it is what she is looking for for herself. Akiko is quite content with her current lot in life, taking care of her growing son, Minoru. And Noriko has only confided in Akiko that she has a close friendship with a man named Tadashi Teramoto, a teacher who has just moved to Sapporo indefinitely for work. Kohayagawa's want for his daughters may also be because he has rediscovered companionship in his own life, with a former mistress, Sasaki Tsune, who he accidentally ran into after not seeing her for nineteen years. Sasaki has told him that her twenty-one year old daughter, spoiled Yuriko Tsune, is his biological daughter, something he believes, although Sasaki doesn't really know or care, as doesn't Yuriko, especially if they can get out of him what they want. Kohayagawa's family does not know of Sasaki currently in his life, but they do know of his marital indiscretion previously with her and do suspect that his "business meetings" which are ruses to meet with her are not what he says they are. Something that happens to Kohayagawa leads to Akiko and Noriko coming to some decisions about their own lives.—Huggo

The End of Summer

The End of Summer (1961)

Sô Yamamura

Haruo Tanaka

Michiyo moved to Osaka two years ago, when her husband Hatsunosuke who works at a stock brokerage was transfered from Tokyo. She wash, cook and clean 365 days a year. All the dreams and hopes she had when they got married five years ago seems to be gone. From here on we follow the everyday life of Mr. and Mrs. Okamoto.—MarlicOne {imdb@motechnet.com}

Repast

Repast (1951)

Tatsuya Nakadai

Masayuki Mori

Soon after becoming a widow, the eldest daughter (Hara) of a large family, returns home to live her mother (Mimasu), brother (Mori), and his wife (Takamine). Trouble erupts when various family members want to use the money her husband left her.—BGP

Daughters, Wives and a Mother

Daughters, Wives and a Mother (1960)

Susumu Fujita

In 1933, in Kyoto, academic freedom is under attack and the spoiled daughter of Professor Yagihara, Yukie Yagihara, is courted by the idealistic student Ruykichi Noge and by the tolerant Itokawa. When the academic freedom movement is crushed by the fascists, Professor Yagihara and the members of the Faculty of Law resign from their positions and Noge is arrested. Five years later, Noge visits Professor Yagihara and his family under the custody of the now Prosecutor Itokawa and tells them that he is going to China. Yukie decides to move alone to Tokyo and years later, she meets Itokawa in Tokyo and tells her that Noge is living in Tokyo. Yukie visits Noge and they become lovers. In 1941, Noge is arrested accused of being the ringleader of a spy network and Yukie is also sent to prison. When she is released, she decides to move to the peasant village where Noge's parents live and are blamed of being spies by the villagers. She changes her lifestyle and works hard with Madame Noge planting rice and earning the respect of her mother and father-in-law. With the end of the war, freedom is restored in the defeated Japan and the flowers blossom again.—Claudio Carvalho, Rio de Janeiro, Brazil

No Regrets for Our Youth

No Regrets for Our Youth (1946)

Machiko Kitagawa

Nobuo Kaneko

The businessman Ogata Shingo works with his son Shuichi, who is his secretary, and they live together in the suburb with their wives Yasuko and Kikuko respectively. Shuichi has a love affair and a loveless marriage with Kikuko. Yasuko has dedicated her entire life to her family but Shingo married her only because her older sister had died. Kikuko is the pride and joy of Shingo and they are close to each other. Out of the blue, Shingo and Yasuko's daughter Fusako leaves her husband and arrives at Shingo's home with her two children. Shingo investigates and finds the address of Shuichi's lover. Meanwhile Kikuko goes to the hospital and Shingo learns that she was pregnant but decided to abort her child.—Claudio Carvalho, Rio de Janeiro, Brazil

Sound of the Mountain

Sound of the Mountain (1954)

Kyôko Kagawa

Elderly couple Shukishi and Tomi Hirayama live in the small coastal village of Onomichi, Japan with their youngest daughter, schoolteacher Kyoko Hirayama. Their other three surviving adult children, who they have not seen in quite some time, live either in Tokyo or Osaka. As such, Shukishi and Tomi make the unilateral decision to have an extended visit in Tokyo with their children, pediatrician Koichi Hirayama and beautician Shige Kaneko, and their respective families (which includes two grandchildren). In transit, they make an unexpected stop in Osaka and stay with their other son, Keiso Hirayama. All of their children treat the visit more as an obligation than a want, each trying to figure out what to do with their parents while they continue on with their own daily lives. At one point, they even decide to ship their parents off to an inexpensive resort at Atami Hot Springs rather than spend time with them. The only offspring who makes a concerted effort on this trip is Noriko Hirayama, their widowed daughter-in-law, whose husband, Shoji Hirayama, was killed eight years earlier in the war. Following the vacation, each child comes to some conclusion of their general behavior toward their parents, not only on this trip but throughout their entire adult lives. For some, this realization may come too late.—Huggo

Tokyo Story

Tokyo Story (1953)

Seiji Miyaguchi

Tokyo banker Shûkichi Sugiyama's two surviving offspring, adult daughters Takako Numata and Akiko Sugiyama, live with him. He raised them on his own after his wife/their mother Kisako abandoned the family long ago. The father worries about both daughters in different ways. Takako has left her writer/translator husband Yasuo Numata without telling him, and she moves back to her father's home with her and Yasuo's 2-year-old daughter Michiko. Akiko, an English shorthand student who has no recollection of her mother, has been staying out to all hours of the night. Shûkichi and his daughters' Aunt Shigeko believe that sullen Akiko needs a boyfriend to shake her out of her funk, and Auntie starts trying to find her an appropriate suitor. Akiko's family doesn't know that her tie to fellow college student Kenji Kimura is the reason for her uncommunicative sullenness--and why she has secretly been trying to raise ¥5,000. While Shûkichi takes some responsibility for both their problems--he had preferred Numata to Takako's other suitor at the time, who might ultimately have been the better match--he's more disappointed in Akiko than worried about her; he had given her more attention than Takako in their formative years because Akiko never really had a mother. And at just this time, their mother, whom they had presumed was long deceased, reenters their lives, seeming to at least want to have some sort of relationship with them. Kisako's return has a profound effect on both Takako and Akiko, most specifically in how they view the recent goings-on in their own lives.—Huggo

Tokyo Twilight

Tokyo Twilight (1957)

Haruko Sugimura

Jun Usami

Noriko is 27 years old and is still living with her father Somiya, a widower. Noriko just recovered from an illness she developed in the war, and now the important question pops up: when will Noriko start thinking about marriage? Everybody who is important in her life tries to talk her into it: her father, her aunt, a girlfriend. But Noriko doesn't want to get married, she seems extremely happy with her life. She wants to stay with her father to take care of him. After all, she knows best of his manners and peculiarities. But Noriko's aunt doesn't want to give up. She arranges a partner for her and thinks of a plan that will convince Noriko her father can be left alone.—Arnoud Tiele (imdb@tiele.nl)

Late Spring

Late Spring (1949)

In postwar Tokyo, this household is loving and serene: older parents, their 28-year-old daughter Noriko, their married son, his devoted wife, and two rascally sons. Their only discontent is Noriko's lack of a husband. Society is changing: she works, she has women friends who tease and argue, her brother sees her independence as impudence, she sees it as normal. When her boss suggests that she marry a 40-year-old bachelor who is his friend, all the members of her family press her to accept. Without seeking their advice, and to their chagrin, Noriko determines her own course of action.—

Early Summer

Early Summer (1951)

Mariko Okada

Shima Iwashita

Family and friends of the late Shuzo Miwa have gathered for his annual memorial service, this one marking the seventh anniversary of his passing. Three of his long time friends - married Shuzo Taguchi, married Soichi Mamiya, and widowed Seiichiro Hirayama - have long known and admitted to each other that they have always been attracted to his widow, Akiko Miwa, who they believe has gotten even more beautiful as she has matured. The three friends take it upon themselves to find a husband for the Miwa's now twenty-four year old daughter, Ayako Miwa, who they believe as beautiful as her mother, and who, as a pure innocent, deserves a good husband. Their self-appointed task is despite them knowing that Ayako does not want them to do so. She doesn't want to get married, at least not yet, as she struggles with her traditional sensibilities in post-war modern Japan. Her first priority as she sees it is to take care of her widowed mother, who would be alone if she were to get married. The differing wants between Akiko, Ayako and the three men are ultimately at odds with each other, and places their relationships on tenterhooks. Ayako's best friend and work colleague Yukiko Sasaki, seeing what is happening, takes it upon herself to ensure that her friend and her friend's mother get what they want from their life following Shuzo's death.—Huggo

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