Kamatari Fujiwara

Renji Ishibashi

Shintarô Katsu

Kô Nishimura

Hanzo the Razor: Sword of Justice

Hanzo the Razor: Sword of Justice (1972)

Kichijirô Ueda

Hisashi Igawa

Bokuzen Hidari

Shiba, a wandering ronin, encounters a band of peasants who have kidnapped the daughter of their dictatorial magistrate in hopes of coercing from him a reduction in taxes. Shiba takes up their fight, joined by two renegades from the magistrate's guard, Sakura and Kikyo. The three outlaws find themselves in a battle to the death.—Jim Beaver

Three Outlaw Samurai

Three Outlaw Samurai (1964)

Shima Iwashita

Jun Hamamura

Tokie Hidari

During feudal times in Osaka, Koharu, a courtesan, and Jihei, a married paper merchant, fall in love, they having met in he being one of her regular customers. Their passion for each other is all consuming, especially for Kihei who leaves the running of the paper store in the hands of his wife, Osan. At the beginning of each month - twenty-nine months thus far - Jihei writes a vow to Koharu to free her from her life so that they can be together. However, he doesn't have the money to pay her ransom, he spending whatever money he has in paying for her services. In the meantime, anyone can pay her ransom, she who would be his possession. Jihei and Koharu have vowed to commit suicide together so that they can be together for eternity if they cannot be together on Earth. Jihei and Koharu's journey is affected by several people: his brother, Magoemon, and Osan's parents, who want Jihei to to do right by Osan as her husband and father to their two young children; wealthy Tahei, who believes money should be able to get him anything, including Koharu, who she detests in return; and Osan herself, who knows more about what Jihei is doing than she may let on to him, and who has a special relationship with Koharu in getting what she wants out of her marriage. Jihei and Koharu's plans for the double suicide are also affected by thoughts of the negative consequences of doing so on the living.—Huggo

Double Suicide

Double Suicide (1969)

Fuyuki Murakami

Keiju Kobayashi

Akihiko Hirata

A dark satire of a contemporary Japan still exhausted from the aftermath of war, hunger, poverty and unemployment. And just as its people are recovering, there is a threat during these Cold War years of renewed militarism and rearmament.

Mr. Pu

Mr. Pu (1953)

Ralph Foody

Warren Beatty

Alexandra Stewart

After incurring the wrath of the mob, a comic flees Detroit for Chicago taking the name "Mickey One" from a stolen Social Security card from a homeless bum he witnesses being beaten up and robbed. As he returns to the stage and becomes successful, he fears that the mob will track him down. He wishes to square himself with the mob, but doesn't know what he did to anger them or what his debt is.—

Mickey One

Mickey One (1965)

Setsuko Hara

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)

Ichirô Nagai

Kunie Tanaka

Eitarô Ozawa

In Osaka's slum, youth without futures engage in pilfering, assault and robbery, prostitution, and the buying and selling of identity cards and of blood. Alliances constantly shift. Tatsu and Takeshi, friends since boyhood, reluctantly join Shin's gang. Shin's an upstart and moves his gang often to avoid the local kingpin. Hanoko is a young woman with ambitions: first she's in the blood business with her father, then she joins forces with Shin. She soon breaks off that partnership, even though she's taken the sensitive Takeshi under her wing. Double crosses multiply. Those with the closest bonds become each others' murderers.—

The Sun's Burial

The Sun's Burial (1960)

Chishû Ryû

Sô Yamamura

Yûji Hori

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)

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)

Kiyoshi Kurosawa

Ittoku Kishibe

At the beginning of the film the father-in-law of the protagonist dies unexpectedly of a heart attack. The remainder of the film is episodic, moving from one incident to another over the course of the three-day funeral, which is held (as is customary) in the home. These incidents contrast old ways and new ways, young and old, ritual ceremony and true feelings, often comically, but sometimes with real poignancy.—Doug Shafer

The Funeral

The Funeral (1984)

Tatsuya Nakadai

Told from the Japanese perspective, this war drama captures the events of World War II's Battle of Okinawa - a massive amphibious assault by U.S. troops that left more than 150,000 Japanese civilians dead.

Battle of Okinawa

Battle of Okinawa (1971)

Heihachirô Ôkawa

Chikako Hosokawa

Yuriko Hanabusa

A young woman reaches maturity and yearns to know about her father. Her mother has poisoned her mind about the man who left her for another woman. There is a tender moment when they see each other for the first time. She learns that the man is not as she was told, nor is the woman. This is a movie which has penetrated my thoughts over the years since I first experienced it.—alan1000

Wife! Be Like a Rose!

Wife! Be Like a Rose! (1935)

Yuko Katagiri

Jûzô Itami

Kumiko Akiyoshi

Akio's sister, Neri has separated from her boyfriend. They lived in Kamakura. She moves in with her brother. Her ex-boyfriend's sister, Eiko comes to see Neri. She wonders if the separation occurred due to her because the three of them used to live together. Eiko's brother has disappeared in the meantime.—aghaemi

Imôto

Imôto (1974)

Toshirô Mifune

Yôko Tsukasa

Edmund Rostand's play Cyrano de Bergerac, transplanted to Japan. A poet-warrior with an oversized nose (matched only by his great heart) loves a lady. But she sees him only as a friend, so he helps another man to woo her by giving him the poetry of his own heart.—Jim Beaver

Samurai Saga

Samurai Saga (1959)

Takashi Shimura

Sanjuro, a wandering samurai enters a rural town in nineteenth century Japan. After learning from the innkeeper that the town is divided between two gangsters, he plays one side off against the other. His efforts are complicated by the arrival of the wily Unosuke, the son of one of the gangsters, who owns a revolver. Unosuke has Sanjuro beaten after he reunites an abducted woman with her husband and son, then massacres his father's opponents. During the slaughter, the samurai escapes with the help of the innkeeper; but while recuperating at a nearby temple, he learns of innkeeper's abduction by Unosuke, and returns to the town to confront him.—Bernard Keane

Yojimbo

Yojimbo (1961)

Minoru Takashima

Akemi Negishi

Episodes from the lives of a group of Tokyo slum-dwellers: Rokkuchan, an intellectually disabled boy who brings meaning and routine to his life by driving an imaginary streetcar; children who support their parents by scrounging or by tedious and ill-paying endeavours; schemers who plot or dream of escaping the shackles of poverty.—Jim Beaver

Dodes'ka-den

Dodes'ka-den (1970)

It's the early nineteenth century, and young Dr. Noboru Yasumoto has been summoned for a reason unknown to him to rural Koishikawa Medical Clinic from Nagasaki, where he has been stationed for three years completing his internship. The clinic, headed by the outwardly stern Dr. Kyojô Niide - nicknamed "Red Beard" for that attribute - under his very strict guidelines, treats the poor and disadvantaged of the region. Much to his surprise and dismay, Yasumoto is told he is to start work there immediately, staff, including doctors, living on site. As he was expecting a position as a physician for a shogunate in his privilege, Yasumoto shows his displeasure at this fate at every turn. He believes this fate was either orchestrated directly by Red Beard in solely wanting access to his detailed professional notes - Yasumoto believing he a much better doctor than his new, more experienced superior - or by the father of a female acquaintance in an effort to get rid of him. Yasumoto may get a different perspective of life as a doctor at the clinic in getting to view Red Beard's methods first hand, as he gets to know the stories of some of the in-patients at the clinic, and as he is assigned his first patient, Otoyo, a twelve year old orphaned girl who was raised in an abusive brothel environment in an effort to seal her supposed future.—Huggo

Red Beard

Red Beard (1965)

Ryunosuke is a sociopathic samurai without compassion or scruples. When he is scheduled for an exhibition match at his fencing school, the wife of his opponent begs Ryunosuke to throw the match, offering her own virtue in trade. Ryunosuke accepts her offer, but kills her husband in the match. Over time, Ryunosuke is pursued by the brother of the man he killed. The brother trains with the master fencer Shimada. In the meantime, however, Ryunosuke earns the enmity of the band of assassins he runs with, and it becomes a question of who shall face him in final conflict.—Jim Beaver

The Sword of Doom

The Sword of Doom (1966)

Minoru Chiaki

Kanji Watanabe is a civil servant. He has worked in the same department for 30 years. His life is boring and monotonous, though he once used to have passion and drive. Then one day he discovers that he has stomach cancer and less than a year to live. After the initial depression he sets about living for the first time in over 20 years. Then he realises that his limited time left is not just for living life to the fullest, but to leave something meaningful behind.—grantss

Ikiru

Ikiru (1952)

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)

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