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肉体の暴風 (1931)
Character: N/A
The love of an older sister who worked as a geisha but decided to open a bar under the auspices of a millionaire
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愛よ人類と共にあれ 前篇 日本篇 (1931)
Character: Sakura
The three-hour Ai yo jinrui to tomo ni are / Love, Be with Humanity (1931) starts as a satire of alienation in the world of money, develops into a lumberland epic with a forest fire on Sakhalin Island, turns into a tragedy of King Lear dimensions, and manages to amaze the blasé audience with a happy end in the Wild West.
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愛よ人類と共にあれ 後篇 米国篇 (1931)
Character: Sakura (Kokichi's second daughter)
The three-hour Ai yo jinrui to tomo ni are / Love, Be with Humanity (1931) starts as a satire of alienation in the world of money, develops into a lumberland epic with a forest fire on Sakhalin Island, turns into a tragedy of King Lear dimensions, and manages to amaze the blasé audience with a happy end in the Wild West.
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恋愛風景 (1929)
Character: The shabby woman
Japanese film from 1929.
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新女性鑑 (1929)
Character: N/A
A feature-length work based on Kan Kikuchi’s newspaper novel, adapted for the screen by Kōgo Noda. With performances by stars such as Shizue Ryūda, Kinuyo Tanaka, and Yukiko Tsukuba, alongside handsome leading men like Shin’ichirō Komura, Hikaru Yamauchi, and Ichirō Yūki, the film outshone its contemporaries. The collaboration between director Heinosuke Gosho and cinematographer Mitsuo Miura, recently returned from America, gave rise to a work of first-class quality in the Japanese film world, distinguished by its brilliance and delicacy.
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愛 和 力 だ (1930)
Character: N/A
Directed by Mikio Naruse. It is presumed to be lost.
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輝く昭和 (1928)
Character: Taeko (Shōwa Chapter)
Japanese silent film from 1928.
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大都会 爆発篇 (1930)
Character: N/A
Japanese silent film from 1930. The second chapter of "The Big City: Labor" (1929).
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花嫁の寝言 (1933)
Character: Madame at Bar
This pair of gentle yet witty and inventive comedies from the director of The Neighbour's Wife and Mine typify both the formal experimentation of early Japanese sound cinema and the social milieux that Shochiku tended to depict. 'Virtually plotless, and feeling more like comic sketches than fully developed stories,' writes Arthur Nolletti, Jr, 'these light comedies, or farces, take a wholly trivial matter (often a socially embarrassing situation) and use it as a springboard for a succession of gags.' Much of the films' distinction comes from the wit of Gosho's direction, the imaginative use of the new sound technology and the charm of the acting, particularly of the heroines (Kinuyo Tanaka in Bride; Hiroko Kawasaki in Groom). Yet in both films, Gosho finds room for some shrewd observation of character and environment, subtly exploring the values and assumptions of the suburban petit bourgeoisie.
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お嬢さん (1930)
Character: Bad Madam
Lost film. Two reporters find that they are repeatedly beaten to the scoop by a new female journalist, 'young miss'. They decide to team up with her to investigate a secret club for wealthy voyeurs. Considered to be a lost film.
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結婚学入門 (1930)
Character: Mineko
Bored in his marriage, a dentist flirts with a young woman on a train. However he soon finds himself embroiled in a series of misunderstandings with his wife, the young woman and her husband. Considered to be a lost film.
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鉄拳制裁 (1930)
Character: N/A
Japanese silent comedy from 1930. The directorial debut of Hiromasa Nomura.
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