3 user 5 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.


Keisuke Kinoshita


Kaneto Shindô
1 win. See more awards »


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


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

Plot Summary | Add Synopsis

Plot Keywords:

marriage | See All (1) »


Comedy | Romance







Release Date:

9 March 1949 (Japan) See more »

Also Known As:

Here's to the Young Lady See more »

Company Credits

Production Co:

Shochiku See more »
Show more on IMDbPro »

Technical Specs


Sound Mix:


Aspect Ratio:

1.37 : 1
See full technical specs »

Did You Know?


References Aizen katsura (1938) See more »

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User Reviews

Don't Act. Behave.
31 July 2019 | by bobliptonSee all my reviews

Takeshi Sakamoto comes to Shûji Sano. He says you're doing well with your automobile agency. You're 34. It's time you got married. Here's a picture of the young lady I have in mind. And he shows him a picture of aristocratic Setsuko Hara.

Sano is awestruck, just as you or I would be. Everyone in the family seems to approve, which seems mad. Eventually it comes out. Miss Hara's father is in prison, the family fortune is gone and there's a million yen mortgage on the house, where the piano has been sold off, the furniture is threadbare, and the elegant hardware is likewise gone. If he marries Miss Sato, there will be a financial arrangement.

Sano is insanely in love with Miss Hara, as anyone would be. She, however, is a beautifully behaved young lady. Sano doesn't care about the money, for once in his life. All he wishes, is for Miss Hara to love him.

What is Keisuke Kinoshita doing, directing a screwball comedy from some one else's script after the War? Well, I'm sure he was well paid for it, and he fills it with some good slapstick. More than that, he fills it with the upper-class snobbery of the fallen aristocrat, the warmth of the bar that Sano frequents. In the brief period of perhaps ten years, when the old class structure was knocked down, to be replaced by a purely mercantile pseudo-aristocracy, there was some hope that the old, wrong barriers would be gone forever.

Looking at it with a cold eye, I thought I would note it was well made. Yet my opinion of it rose as it went on, filled not only with the obvious subplots and characters -- Sano's foster brother, Keiji Sada, is desperately in love with a woman whom Sano forbids he marry, because she is too low-class; Eiko Takamatsu gets stinking drunk and tells off Miss Hara; and so forth. Yet there are the moments of sterling performances, like Fusako Fujima as Miss Hara's grandmother, who natters on blithely how miserable her grand daughter has grown since her engagement. And there's Sano's performance, as a man who has fought his way up from poverty, while remaining kind.

And Setsuko Hara. I don't know how many performances I've seen her give, and just about every time, it seems I think whatever I'm looking at is among her finest. Just like this one.

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