Chieko Baishô

Hisao Dazai

Kunie Tanaka

Chishû Ryû

After a quarrel with his mother, Torajiro sets off to find a bride.

Tora-san, the Good Samaritan

Tora-san, the Good Samaritan (1971)

Takashi Shimura

Tora-San, an itinerant peddler who is thrown out of his father's house twenty years before but reconnects with his aunt, uncle and sister Sakura. Tora wreaks some havoc in their lives, like getting drunk and silly at a marriage meeting.

Tora-san, Our Lovable Tramp

Tora-san, Our Lovable Tramp (1969)

Mariko Okada

Shima Iwashita

Haruko Sugimura

In the early 60's in Tokyo, the widower Hirayama is a former captain from the Japanese navy that works as a manager of a factory and lives with his twenty-four year-old daughter Michiko and his son Kazuo in his house. His older son Koichi is married with Akiko that are compulsive consumers and Akiko financially controls their expenses. Hirayama frequently meets his old friends Kawai and Professor Horie, who is married with a younger wife, to drink in a bar. When their school teacher Sakuma comes to a reunion of Hirayama with old school mates, they learn that the old man lives with his daughter that stayed single to take care of him. Michiko lives a happy life with her father and her brother, but Hirayama feels that it is time to let her go and tries to arrange a marriage for her.—Claudio Carvalho, Rio de Janeiro, Brazil

An Autumn Afternoon

An Autumn Afternoon (1962)

Takahiro Tamura

Noriko Arita

An old man, being rowed along a river, sees a field of daisies and thinks back to when he was fifteen. He recalls his time with, and away from, the girl cousin he grew up with and would have married, except the family and other pressures got in the way.—sharptongue

She Was Like a Wild Chrysanthemum

She Was Like a Wild Chrysanthemum (1955)

Kamatari Fujiwara

Sô Yamamura

Sanae Takasugi

Setsuko is unhappily married to Mimura, an engineer with no job and a drinking habit. She's always been in love with Hiroshi, but he left for France years ago without proposing. Now he is back and Mariko (Setsuko's sister) tries to reunite them, although secretly she loves him too.

The Munekata Sisters

The Munekata Sisters (1950)

Keiko Kishi

Keiko Awaji

Kôji Mitsui

Machiko and Haruki are not allowed to meet. When at last they find each other, Haruki has to part for Europe.

What Is Your Name?

What Is Your Name? (1953)

What Is Your Name? Part II

What Is Your Name? Part II (1953)

Masami Morikawa

Akio Isono

What Is Your Name? Part III

What Is Your Name? Part III (1954)

Rentarô Mikuni

Akira Ishihama

Mutsuko Sakura

When a family has to relocate due to the war, they are ostracized by their new community.

Boyhood

Boyhood (1951)

Munenobu Yui

Mitsuru Wakamiya

A troupe of actors comes to town, short on funds and bedeviled by bad weather, so they can't put on shows. Kihachi is the troupe's leader. He steals off every day to visit Otsune (an ex-lover) and their son, Shinkichi, who believes his father is a long-dead civil servant. Kihachi has been paying Shinkichi's tuition, and he's now at university. Kihachi's lover, Otaka, the troupe's lead actress, learns Kihachi's secret and plots to ruin Shinkichi and humiliate Kihachi: she offers money to Otoki, the troupe's ingénue, to seduce Shinkichi. Soon the boy is head over heels, and Otoki finds herself with feelings for him. Can this end well or is tragedy at hand?—

A Story of Floating Weeds

A Story of Floating Weeds (1934)

Masayuki Mori

Seiji Miyaguchi

Two journalists and their lovers share an uncertain future.

Zen-ma

Zen-ma (1951)

Hiroko Kawasaki

Kanji Kawahara

Emi Ota and her friend Okiku stay briefly at a mountain inn and then return to Tokyo. Later, Nanmura, a soldier on leave, steps on an ornamental hairpin in the public bath at the inn. Emi writes to the inn saying she has lost a hairpin and, when she discovers that it injured Nanmura, returns to apologize. The longer term visitors at the inn meet together to discuss the hairpin incident. These include a grumpy Professor, a young couple Mr and Mrs Hiroyasu, and an old man staying with his two grandsons. They hope to see a romance blossom between Nanmura and Emi, after Nanmura declares that there is something almost poetic in finding a hairpin in the bath.—Will Gilbert

Ornamental Hairpin

Ornamental Hairpin (1941)

Eitarô Ozawa

Yoshio Inaba

An elderly sweet potato vendor collapses in the home of a self-absorbed wealthy family. He must be allowed to remain there while he recovers, and a screwball comedy of manners ensues. A host of family and visitors comes and goes, disrupting hopes of the greedy patriarch for peace and quiet, and subplots swirl. Movie fans will recognize elements of It Happened on Fifth Avenue, The Man Who Came To Dinner, and Boudu Saved From Drowning.

Spring Dreams

Spring Dreams (1960)

Michiko Kuwano

Tatsuo Saitô

Shin Saburi

After her husband dies, a mother and her daughter move in with the eldest son. His wife finds this arrangement disagreeable, precipitating several moves by the mother & daughter to the homes of others in the family, while quarrels ensue. Eventually, the second son returns from residence in China, upbraids his siblings for their treatement of the widow & daughter, and takes the duo settles with the second son in China.

The Brothers and Sisters of the Toda Family

The Brothers and Sisters of the Toda Family (1941)

Fumio Watanabe

Fujiko Yamamoto

Yoshiko Kuga

A business man is often approached by friends for advice and help regarding marriage as well as family and romantic relationships. He is always very calmly and objectively able to give great insight and assistance to these particular situations. However, when it comes time for him to be objective regarding his oldest daughter, he finds it very difficult...—Karl Engel

Equinox Flower

Equinox Flower (1958)

Shôtarô Fujimatsu

Seiji Nishimura

Zentaro Iijima

The Yoshi family - husband and wife Kennesuke and Haha, a middle manager at an office and a housewife respectively, and their two adolescent sons Keiji and Ryoichi - have just moved from the inner city to the suburbs of Tokyo, into the same neighborhood where Kennesuke's boss, Iwasaki, and his family live. The boys get off to a rocky start in their new neighborhood as they end up being bullied by a group of similarly aged boys, led by slightly bigger Kamekichi. Keiji and Ryoichi even secretly play hooky from school, not wanting to have to confront the bullies. After befriending Kozou, the older delivery boy at the local store who ends up being their protector of sorts, Keiji and Ryoichi are able to stand up to their tormentors to become the ones among the boys who call the shots. Their newfound pride takes a hit when they end up being at the same social gathering as their father and his coworkers at Iwasaki's house, and see that their father is a proverbial apple-polisher toward Iwasaki and not the important man they previously believed him to be. Kennesuke knows how his behavior looks to his sons, but justifies it to himself by probably being further ahead in life than they would be otherwise. The Yoshis will have to reconcile these two issues for harmony to return within their family.—Huggo

I Was Born, But...

I Was Born, But... (1932)

Taiji Tonoyama

Haruo Tanaka

This movie takes a look at a Westernized suburban area in Japan in the late '50s. It focuses mainly on the daily lives of a small community and the way its members interact. It also demonstrates the power of oral communication and the way in which small talk acts as a lubricant for our daily lives.—

Good Morning

Good Morning (1959)

Keiko Tsushima

Etsuko Miyama

Mie Kitahara

Takeo, a capricious wife from Tokyo high-society, is bored by her dull husband, a quiet and reliable company executive raised in the country (Shin Saburi) After a crisis, she understands better his true value. A parallel sub-plot shows her niece rebelling against the tradition of arranged marriages.—phs

The Flavor of Green Tea Over Rice

The Flavor of Green Tea Over Rice (1952)

Setsuko Hara

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)

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