When the patriarch of the Toda family suddenly dies, his widow discovers that he has left her with nothing but debt and married children who are unwilling to support her--except for her most thoughtful son, just returned from China.
In 1701, Lord Takuminokami Asano has a feud with Lord Kira and he tries to kill Kira in the corridors of the Shogun's palace. The Shogun sentences Lord Asano to commit suppuku and deprives ... See full summary »
Two young brothers become the leaders of a gang of kids in their neighborhood. Their father is an office clerk who tries for advancement by playing up his boss. When the boys visit the boss... See full summary »
On his deathbed, a wealthy businessman announces that his fortune is to be split equally among his three illegitimate children, whose whereabouts are unknown to his family and colleagues. A... See full summary »
In Tokyo, Osen is the servant girl of an unscrupulous antiques dealer, Kumazawa, who takes in the penniless Sokichi Hata. Kumazawa mistreats Sokichi and Osen, while swindling some Buddhist ... See full summary »
From the Criterion Collection: "Among the first Japanese films to deal directly with the scars of World War II, this drama about a group of rank-and-file Japanese soldiers jailed for crimes... See full summary »
Perhaps Kobayashi's most sordid film, Black River is an exposé of the rampant corruption on and around U.S. military bases following World War II. Kobayashi spirals out from the story of a ... See full summary »
Kobayashi's pitiless take on Japan's professional baseball industry is unlike any other sports film ever made. An excoriation of the inhumanity bred by a mercenary, bribery-fueled business,... See full summary »
The Lady from Musashino is the tragedy of a woman destroyed by sticking to her own personal values while all around her society is in moral decay.
Another fine Kenji Mizoguchi / Kinuyo Tanaka collaboration, though not in the same league as their great ones (Oharu, Sansho, Ugetsu). The film is occasionally a bit too literal and obvious, with Western influences on Japanese society seen rather one-sidedly as an absolute negative (judging from this movie, you'd think Stendhal's Le Rouge et le Noir is solely responsible for all of Japan's ills).
Nevertheless, the movie's final image is a great cinematic representation of all that was gained and all that was lost in post-war Japan.
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