|
|
|
花の慕情 (1958)
Character: Tsuzuki Keigo
Domoto Kozue, a gifted young ikebana artist, shoulders the legacy of her late father’s school while navigating the pressures of family expectation and an arranged marriage. Her path shifts when she encounters Shinichi, whose presence stirs both inspiration and conflict within the tightly bound world around her. Amid love, rivalry, and the fragile beauty of flowers, Kozue must decide how to shape her own future.
|
|
|
麻薬売春Ｇメン (1972)
Character: N/A
Undercover cop Kikuchi teams up with the Okinawa local police to clean up the narcotics and prostitution underworld.
|
|
|
秋日和 (1960)
Character: Sushiya Kyaku
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.
|
|
|
王将 (1962)
Character: N/A
The film takes place at the junction of the two eras of Meiji and Taisho. Sakata Sankichi, an uneducated zori sandal maker, becomes a professional shogi player through his genius shogi skills and lives a fanatically devoted shogi game supported by the love of his family. This is the 3rd adaptation of Hideji Hojo's famous play.
|
|
|
彼岸花 (1958)
Character: Mr. Sugai
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.
|
|
|
東京－ソウル－バンコック 実録麻薬地帯 (1973)
Character: Tsusai Sugawara
A truck driver arrives in Seoul to receive his dead sister's ashes. While there, he discovers the death may not have been an accident after all, and has something to do with international drug smuggling.
|
|
|
女は二度生まれる (1961)
Character: Shimazaki
A young girl is rigorously trained in the feminine arts so that she can become a geisha. As she struggles through life, she learns to live not just as a woman but as a complete person.
|
|
|
紀ノ川 (1966)
Character: Tazaki
Epic saga of an idealistic land-owning family dealing with militarism, war, social change and economic reform.
|
|
|
早春 (1956)
Character: Mr. Sugai
A young Tokyo salary man and his wife struggle within the confines of their passionless relationship while he has an extramarital affair.
|
|
|
わが町 (1956)
Character: Tsuruta Tomizō, Diving Company Boss
In 1906, after finishing a tough migrant job in the Philippines, Takichi has returned to Japan. He starts to work as a rickshaw driver, but his lover had died of an illness, leaving a baby girl, Hatsue. Hatsue grows up beautifully and falls in love with Shintaro. But Takichi objects to their relationship...
|
|
|
浮草 (1959)
Character: Sushi Restaurant Customer
When a theater troupe's master visits his old flame, he unintentionally sets off a chain of unexpected events with devastating consequences.
|
|
|
麻薬売春Ｇメン 恐怖の肉地獄 (1972)
Character: Sugawara
Detective Kikuchi is sent to Okinawa to investigate why a girl jumped from a window after shooting heroin. There, he encounters the usual assortment of addicts, dealers, pimps and sleazy American GIs.
|
|
|
霧の旗 (1965)
Character: N/A
When her only relative, her elder brother is accused of robbing and murdering an old woman loan-shark, pretty, young Kiriko travels from her home in Kyushu to Tokyo to get Japan's top lawyer to defend her brother. Unfortunately her naive idealism is shattered when the lawyer refuses to take the case based on her insufficient funds. What follows is a long determined revenge plot that sees the heroine become a Tokyo bar hostess and worse to punish the lawyer. The plot thickens with another murder mystery and a sleuthing reporter.
|
|
|
お早よう (1959)
Character: Customer
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.
|
|
|
秋刀魚の味 (1962)
Character: Dousousei Sugai
Shuhei Hirayama is a widower with a 24-year-old daughter. Gradually, he comes to realize that she should not be obliged to look after him for the rest of his life, so he arranges a marriage for her.
|
|
|
東京暮色 (1957)
Character: Mahjong Parlor Owner
Two sisters find out the existence of their long-lost mother, but the younger cannot accept the fact that she was abandoned as a child.
|
|
|
今年の恋 (1962)
Character: N/A
Hikaru and Ichiro are close friends in high school. Hikaru's elder brother Tadashi fell in love with Ichiro's elder sister, Mikako at first sight. Although she gave the cold shoulder to Tadashi, she gradually became fond of Tadashi.
|
|
