A romance with political overtones about the relationship of a sheltered bourgeois woman and a doctor who devotes himself to caring for the poor. Over a ten-year period - from 1936 through the war - they find each other and are separated again by the events of those tumultuous days.

Ayako, a young woman from a rural fishing village, is sold by her family into a brothel when her father takes ill. There, she is quickly stripped of her innocence and illusions.

Japanese film from 1932.

As the film begins, Bunkichi (Takeshi Sakamoto), an affable ne'er-do-well who married late (after sowing quite a few wild oats in his own youth) is approached by members of the community to head a collection drive for a commemorative lantern, a level of responsibility for which his wife Okiyo teasingly calls into question his suitability. Bunkichi further proves his irresponsibility when his widowed sister Otoku asks him to speak her son Seiichi in order to advise him to concentrate on his studies (instead of frittering his time reading novels) and instead, takes the young man out for a night of drinking. However, when Seiichi becomes involved in an even more serious - and potentially life-altering - predicament, Bunkichi takes him under his wing and assumes responsibility to mitigate the consequences of the young man's indiscretion. Gosho's richly textured home drama is a refined and seemingly effortless examination of duty, sacrifice, and maturity. The film's curious title, a reference to the out-of-favor geisha turned Ginza bar hostess Terue, provides an evocative and haunting metaphor for human transience.

As the film begins, Bunkichi (Takeshi Sakamoto), an affable ne'er-do-well who married late (after sowing quite a few wild oats in his own youth) is approached by members of the community to head a collection drive for a commemorative lantern, a level of responsibility for which his wife Okiyo teasingly calls into question his suitability. Bunkichi further proves his irresponsibility when his widowed sister Otoku asks him to speak her son Seiichi in order to advise him to concentrate on his studies (instead of frittering his time reading novels) and instead, takes the young man out for a night of drinking. However, when Seiichi becomes involved in an even more serious - and potentially life-altering - predicament, Bunkichi takes him under his wing and assumes responsibility to mitigate the consequences of the young man's indiscretion. Gosho's richly textured home drama is a refined and seemingly effortless examination of duty, sacrifice, and maturity. The film's curious title, a reference to the out-of-favor geisha turned Ginza bar hostess Terue, provides an evocative and haunting metaphor for human transience.

Half a Loaf... Avarice / Yoku

An Inn at Osaka, rarely seen outside Japan, follows the story of an insurance company executive from Tokyo, Mr. Mito, who is demoted to the Osaka office. He takes a room at a small inn and tries to rebuild his life. Notable for its exquisite framing and cinematography, An Inn at Osaka allows its complicated plotlines to disappear behind the minutiae of penury and humiliation that Mito and others suffer during the post-war economic and social reconstruction.

松竹蒲田お得意の小市民映画。初老のサラリーマン・福島には三女一男があった。長女は医師に、次女は画家に嫁いでいた。三女は未婚だったが、やがて縁談もまとまり軍人のもとに。三女の結婚式を終えた福島は妻とホッとしながら家に帰る。が、それもつかの間、よくよく考えてみると晩年に生まれた小学生の長男がまだ残っていた。この子を一人前にするまではまだ頑張らなくては……。やれやれ、というため息の中に、ほのかな幸福感がにじみ出る蒲田調の味わい。斎藤達雄がうだつの上がらぬ亭主役にペーソスをにじませ、田中絹代が洋服を粋に着こなすモダン・ガールを好演している。

伊豆之行，川端康成邂逅流浪藝團的清純少女舞孃，以文寄意，譜出成名作。那個孤兒出身就讀東京高校的「我」，旅途上被舞孃薰的天真純潔深深打動，情竇初開，卻注定是沒有結果的無奈。五所平之助與合作無間的著名編劇伏見晁，將底層百姓飄泊求生的人間戲劇滲透青春戀曲，散逸韻律詩意；如霧似花的感情，於無聲處，更上心頭。一代女神田中絹代塑造了純美之最高典型，以離情之淚淨化寂寞心靈，教人隱然領悟那種「什麼都未留下來的甜美快感」。

​Reiko, a young woman with a physical disability, begins a clandestine affair with the married architect Katsuragi, but also becomes dangerously obsessed with his unfaithful wife, Akiko.

Where Chimneys Are Seen focuses primarily on the interconnected lives of two couples in a lower-middle-class neighborhood in Senju, a poor industrial section of Tokyo.

A playwright moves to a rural neighborhood to avoid the distractions of the city, but he discovers there are plenty of ways to get sidetracked in his new home, too.

A boy falls in love with a girl. Neither of them know that she's to be sold to a brothel.

吉田一郎が十五年ぶり中国から戻った時、妻マチ子は鎌倉彫の手内職で息子清と細々暮していた。博古堂の女経営者松本雪子は隣家のよしみ以上に何かと好意を示していたが、雪子の養女春子と清は大の仲良し。一郎は以前の勤務先南陽商事に戻り、かつて後輩だった課長秋月の下で、戦前とまるで変った仕事内容を覚えようと必死。清は甘えたくも取りつくしまがない。一年は過ぎ、吉田家には赤ん坊が生れ光子と名付けられたが、清は一郎の愛情が移ったのに不満。小動物小昆虫の飼育で僅かにウップンを晴らすが、一郎にそれ迄叱られる。ある日、清らは上級生と喧嘩の現場を担任の靖子先生にみつかる。その晩、会社の不満を酒でまざらして一郎が戻った処に、喧嘩仲間の子のお婆さんが孫が怪我したと文句をつけてきた。身に覚えのない清は、一郎に防空壕へ閉め込まれてしまう。翌日は清と雪子、春子三人のピクニックの日。猟銃で負傷したカラスの子を幼い二人は自分らの動物園に入れようと約束した。留守中、吉田家を訪れた靖子は、清の絵に子供の煩悶と不幸が現われていると語り、マチ子は胸をつかれる。その夜は機嫌のいい一郎、清も凧上げ大会に出す大凧をねだるが、カラスのことは話せなかった。次の日靖子先生が近く辞めると聞いた清は落胆。加えて或る日留守番中、上級生の悪童らにからかわれて喧嘩となり、赤ん坊の光子までカスリ傷を負った。マチ子の驚き、一郎の怒り、揚句の果て可愛いカラスまで放り出され凧の約束も無駄、清は「お父さんのうそつき、死んじまえ」と書いた紙片を残し、靖子先生に貰ったオルゴールを抱いて家出。林の中や海辺をアテもなくさまよう。何かを求めるような清の疲れた足どり。マチ子、雪子らの捜索の末、清は松本家の物置小屋に居るのが判ったが雪子の家の子にしてと訴える清にマチ子は飜然と自らの誤ちを悟る。彼女は夫に戦争の傷痕から来た家庭の危機を涙と共に訴えた。雪子に送られて清が戻って来た時、一郎も始めて清を力強く抱きしめる。明ければ元旦。靖子先生に送る、と清の描く画も今は明るい色調。凧上げに急ぐ一郎と清の足どりも、軽くはずんでいた。初空に清のトンビ凧も高く上って行った。