7.0/10
103
2 user 3 critic

Ojôsan kanpai (1949)

Goro is not Keizo's real brother, though he call Keizo "aniki" (brother). Goro was an orphan whose parents were killed in the war, and was raised and trained by Keizo.

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Cast

Cast overview, first billed only:
...
Keizô Ishizu
...
Yasuko Ikeda
Sugisaku Aoyama ...
Grandfather
Fusako Fujima ...
Gramother
Yasushi Nagata ...
Father
Chieko Higashiyama ...
Mother
Masami Morikawa ...
Older sister
Junji Masuda ...
Brother-in-law
...
Gorô
Naruko Satô ...
Gorô's fiancée
...
Satô
...
Proprietress of the bar
Kaoru Kusuda ...
Yasuko's friend
Junko Machida ...
Yasuko's friend
Toshiko Ishida ...
Yasuko's friend
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Storyline

Keizo Ishizu (Shuji Sano), owner of a car shop in Tokyo, meets Yasuko Ikeda (Setsuko Hara), the daughter of a former aristocratic family, on a matchmaking date arranged by Mr. Sato (Takeshi Sakamoto), a regular customer. They agree to start dating. At first it looks fun: he enjoys his first experience watching the ballet, and she finds herself getting into the excitement of a boxing match. But the doubts creep in, complicated by their differing social status. At the same time, Keizo's younger brother Goro (Keiji Sada) also decides to get married, going through a very easy courtship. With Keizo and Yasuko, however, it's on and off and on again, up until the very end. Written by rowerivers

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marriage | See All (1) »

Genres:

Comedy | Romance

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Details

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Release Date:

9 March 1949 (Japan)  »

Also Known As:

Here's to the Young Lady  »

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Aspect Ratio:

1.37 : 1
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References Aizen katsura (1938) See more »

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User Reviews

 
Subtle Comedy of Manners
4 April 2013 | by See all my reviews

The postwar democratization of Japan was supposed to make everyone equal. But the stigma of nobility and merchant class remained. So when car shop owner Keizo begins dating Yasuko, the daughter of former nobility, many complications ensue. Today this film comes across as just another match of opposites, and a not-particularly interesting one at that. But at that time it was major. This topic was dealt with more dramatically in Anjo-ke no Butokai (Ball at the Anjo's House) two years earlier. Here it becomes a comedy of manners. A very quiet comedy. As such, it may be hard to sit through for those expecting clever wit or humorous situations. Every gesture is very subtle: the touch of a glove in place of a hand, the foaming remains of a beer in a glass in the climactic scene. I liked the interaction between the two. Hara, as usual, is magnificent, playing shy and demure with traces of shock and amusement. Sano flicks between sullenness and earnestness, showing his charm and anger in equal measures. Kinoshita does a fine job directing this film, showing a postwar Tokyo where one could freely drive or ride a motorbike on the streets. But overall, it's hard to recommend this to anyone other than fans of the director or Setsuko Hara.


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