|
|
|
慶安水滸傳 (1954)
Character: 春日屋弥兵衛
Chikuzen, a ronin named Yoh Daisuke, after pacifying some ruffians at the theater of Onna-Kata Ogino Sawanojiki, formed a bond with the theater's bodyguard, Maruhashi Tadayasu, and Kaku, a priest. He ended up settling at the Kasugaya, the house of Oko, whom he had saved. When Oko decided to go to Edo, where her biological father lived, Daisuke accompanied her. Along the way, at Suruga Abe River, they encountered Sawanojiki's theater group, which had departed from Osaka earlier heading to Edo. A scuffle initiated by Tadayasu over a ferry boat with the students of Yui Masayuki but was amicably resolved through Masayuki's intervention.
|
|
|
|
|
ちんころ海女っこ (1965)
Character: N/A
South of Tokyo is a small island until quite recently relatively unchanged since feudal times. Now, however, it is being made into a tourist's playland and the girls, who had been abalone divers, now become geisha, and the old ways of the island are all topsy-turvy. One of the girls, more sensitive than the rest, sees that here, too, people are motivated only by greed and decides to leave and try to find a better life elsewhere.
|
|
|
モダン道中 その恋待ったなし (1958)
Character: N/A
A road trip comedy set against the backdrop of the famous historical sites of Tohoku and Hokkaido.
|
|
|
夕陽に赤い俺の顔 (1961)
Character: Kumon Dragon
A vengeful contractor hires a series of young killers to target a woman muckraker. Trouble brews when an amateur marksman shows up his eclectic competition.
|
|
|
壁あつき部屋 (1956)
Character: N/A
A group of rank-and-file soldiers are jailed for crimes against humanity, themselves victims of a nation refusing to bear its burdens as a whole.
|
|
|
張込み (1958)
Character: N/A
Two detectives begin a stakeout based on the slim chance of catching a murderer whom they suspect will try to reunite with an old flame.
|
|
|
飼育 (1961)
Character: N/A
Towards the end of WWII, a black American pilot is captured and imprisoned by rural Japanese villagers, who await official instructions as to how to proceed with their 'catch'.
|
|
|
秋日和 (1960)
Character: Yoshitaro
A woman and her daughter are each forced to contend with an increasing pressure to marry, particularly from three men who knew her late husband.
|
|
|
彼岸花 (1958)
Character: Schoolmate Hayashi
Wataru Hirayama's outwardly liberal views on marriage are severely tested when his daughter declares that she is in love with a coworker and is adamant to live life her own way, instead of agreeing to an arranged marriage. Outwitted by his female relatives, Hirayama stubbornly refuses to admit defeat.
|
|
|
カルメン純情す (1952)
Character: N/A
Strip dancer Carmen falls in love with Hajime, who is engaged to the daughter of a right-wing politician.
|
|
|
乾いた湖 (1960)
Character: N/A
A reckless student contemplates terrorism in a prescient film that confirmed Shinoda as a fearless member of Shochiku's iconoclastic New Wave. At the height of student protests, Shimojo takes his aggressions to another level, beset by seemingly insoluble feelings of alienation.
|
|
|
あなた買います (1956)
Character: Soba shop owner
A talent scout moves sharply, dead-set on signing a promising baseball player to The Toyko Flowers.
|
|
|
早春 (1956)
Character: N/A
A young Tokyo salary man and his wife struggle within the confines of their passionless relationship while he has an extramarital affair.
|
|
|
お早よう (1959)
Character: Zennosuke Okubo
A lighthearted take on director Yasujiro Ozu’s perennial theme of the challenges of intergenerational relationships, Good Morning tells the story of two young boys who stop speaking in protest after their parents refuse to buy a television set. Ozu weaves a wealth of subtle gags through a family portrait as rich as those of his dramatic films, mocking the foibles of the adult world through the eyes of his child protagonists. Shot in stunning color and set in a suburb of Tokyo where housewives gossip about the neighbors’ new washing machine and unemployed husbands look for work as door-to-door salesmen, this charming comedy refashions Ozu’s own silent classic I Was Born, But . . . to gently satirize consumerism in postwar Japan.
|
|
|
日本の悲劇 (1953)
Character: N/A
At the close of the war in Japan, a widowed mother makes every possible sacrifice to bring up her ungrateful son and daughter who are unimpressed with their poor standard of living at home. They gradually reject her in search of the material comforts that working as a maid cannot provide. The mother's despair becomes interminable.
|
|
