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母の戀文 (1935)
Character: N/A
Domestic comedy involving a strong wife and a "henpecked" husband taking place in a family-run judo school.
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髭の力 (1931)
Character: N/A
Kato's splendid mustache is an obstacle when it comes to finding a job. However, he gets a job as a security guard at a construction site. The president of the construction company tries to grow a mustache like Kato's and, failing, orders Kato to shave off his. Considered a lost film.
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新道 (1936)
Character: N/A
The eldest daughter of a noble family is in love with an aviator while being courted by a fellow aristocrat she thinks is a dullard. This part is told from the perspective of Akemi.
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愛撫 (1933)
Character: N/A
Heinosuke Gosho evokes in this film the family conflicts engendered by the eternal problem of a father who projects his professional desires on the life of his son. The sister Machiko is the essential link that will allow everyone to apologize to each other and achieve reconciliation.
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女醫絹代先生 (1937)
Character: Soichiro, Sohachi's son
Kinuyo is a daughter of doctor of Chinese medicine, and Yasuo is a son of surgeon. Their families always fight like cat and dog. This relationship is ancestral. Although Kinuyo and Yasuo love each other, they have different thoughts toward treatments.
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花籠の歌 (1937)
Character: Tomitaro, Yoko's uncle
Three men fall in love with the same young girl who works in a tonkatsu restaurant in the Shitamachi district of Tokyo.
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春は御婦人から (1932)
Character: Company president
A student comes up with various schemes to avoid paying a tailor the money he owes him. Considered to be a lost film.
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僕 の 丸髷 (1933)
Character: N/A
Directed by Mikio Naruse. It is presumed to be lost.
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奥様に知らすべからず (1937)
Character: Fire guard
A Japanese screwball comedy about the battle between the sexes: two timid men, egged on by their wives, end up in a bitter duel over an expensive lace handkerchief.
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花嫁の寝言 (1933)
Character: Hiyama
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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或る夜ふたたび (1956)
Character: N/A
Poor social conditions badly affect the relationship between a married couple, when the husband, who is desperately searching for work, fails to notice the terrible sacrifices made by his wife when she accepts a job at a local inn.
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東京の合唱 (1931)
Character: Shachou
In Depression-era Tokyo, a young man struggles to provide for his family after he is fired from his job.
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戸田家の兄妹 (1941)
Character: Photographer
After the death of her husband, an elderly woman and her youngest, unmarried daughter are forced to sell their house to cover his debts and decide to move in with one of the former's children, each of whom is scarcely happy to accommodate.
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非常線の女 (1933)
Character: Secretary
A gangster tries to find redemption with the inadvertent help of an innocent shop girl and his jealous girlfriend will do anything to keep him.
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浮草物語 (1934)
Character: Tomio's Father
An aging actor returns to a small town with his troupe and reunites with his former lover and illegitimate son, a scenario that enrages his current mistress and results in heartbreak for all.
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風の中の子供 (1937)
Character: N/A
On vacation's eve, a boy is sent to the countryside to live with his uncle after his father is imprisoned and accused of embezzlement.
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出来ごころ (1933)
Character: Barber
In Depression-era Tokyo, a struggling middle-aged single father with a young son comes across a homeless young lady and convinces a bar owner to take her in.
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有りがたうさん (1936)
Character: Doctor
In Depression-era Japan, a courteous bus driver carries an eclectic group of passengers from the mountainous Izu to Tokyo.
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限りなき舗道 (1934)
Character: Butler
Mikio Naruse’s final silent film is a gloriously rich portrait of a waitress, Sugiko, whose life, despite a host of male admirers and even some intrigued movie talent scouts, ends up taking a suffocatingly domestic turn after a wealthy businessman accidentally hits her with his car.
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夜ごとの夢 (1933)
Character: N/A
In Depression-era Tokyo, the life of a single mother and her young son are disrupted by the return of her ex-husband, who fathered the child and walked out on her years earlier.
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恋の花咲く 伊豆の踊子 (1933)
Character: Man
"The Dancing Girl of Izu" tells of the story between a young male student who is touring the Izu Peninsula and a family of traveling dancers he meets there, including their youngest girl. The student finds the naïve girl attractive even though he eventually has to part with the family after spending memorable time together.
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父ありき (1942)
Character: Teacher of Chinese Literature
Shuhei Horikawa, a poor schoolteacher, struggles to raise his son Ryohei by himself, despite neither money nor prospects.
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人生のお荷物 (1935)
Character: N/A
A middle-aged father has just married off his third daughter, but still has his nine year old son to raise whom he resents as he was unwanted.
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