豪雨で汽車の止まったホームで待つ男、そして待合室で待つ女、彼らは神田明神を見つめながら昔のことを思い出す。その男、秦宗吉は田舎から出てきたが絶望し、自殺しようとしていたところをその女、お千に助けられたのだった。お千は情夫に悪事の片棒を担がされながら、宗吉を生きがいとして生きるようになっていき、宗吉も苦しい生活を送りながら、医者になるという夢を果たそうと努力するが…
泉鏡花の『売色鴨南蛮』を溝口が映画化。溝口最後のサイレンと作品で、音楽と活弁士・松井翠声の解説とが録音されたサウンド版として製作された。また、溝口の第一映画移籍第一作に当たり、この作品以降山田五十鈴とのコンビでヒット作を連発した。

以旧家庭的悲剧的没落为主题,描写围绕美丽妖艳的雪夫人的三个男人之间的纠葛,, 是舟桥圣一的同名小说的电影化

A woman's struggle for equality in Japan in the 1880s. Eiko Hirayama leaves Okayama for Tokyo, where she helps the fledgling Liberal Party and falls in love with its leader Kentaro Omoi, just as the party is being disbanded by the government. Eiko and Omoi are jailed because of a fire at a factory instigated by Chiyo, a servant girl from Eiko's home in Okayama, who was sold to slavery. A few years later the 1889 constitution is proclaimed, Eiko, Omoi, and Chiyo are pardoned, and the Liberal Party is reinaugurated. However Omoi does not campaign for women's rights.

The stage director Shimamura, who is bringing western theatre to Japan, falls in love with the outspoken actress Sumako Matsui, and leaves his family to be with her, while trying to keep his Art Theatre solvent.

喜多川歌麿（坂東簑助 饰）因绘画某千金小姐雪江（大原英子 饰）惹上麻烦，雪江的未婚夫，同时也是幕府御用画师出身的小出势之助（坂东好太郎 饰）吵上门来，非要与之用画技一决雌雄。一番比试过后，势之助甘拜下风，随后抛弃武士身份并与雪江分手，拜入喜多川门下学习。
歌麿生性开朗，经他画出的美女图成为全城抢购的热销产品，而他的模特们也会自此迷恋上他。当然，爱人多了同样也会带来烦恼……
[背景]江户本土出生的喜多川歌麿饰江户幕府时期最著名的浮世绘画家，他是“大首绘”的创始人，也就是有脸部特写的半身胸像，代表作为 “江户宽政年间三美人”，1804年因绘制《太阁洛东五妻游观》得罪幕府，受手铐刑（该事件在片中提到）。

一切のエンターテイメント性を排したストイックかつ格調高い宮本武蔵。戦時下末期の制作で、溝口ならではの超辛口な演出です。

日本封建时代的铸剑过程，武士与主人间报恩、报仇的恩怨情节为主，真正的中心还是环绕着一个女人。片子有种说不出的温柔与细致。

“Oyuki, the [Virgin] is based on Kawaguchi Matsutaro’s adaptation of Maupassant’s “Boule de Suif” [“Lump of Fat,” also the inspiration for Ford’s Stagecoach]. To this story Mizoguchi added some of his own elements. Maupassant’s original work, set during the Franco-Prussian War, is the story of a group of people who try to flee the battleground in a horsedrawn carriage. The bourgeois use the expression “lump of fat” to refer sarcastically to the prostitute who is riding along with them. When they are caught by the enemy, they offer to send her to the commander as a human sacrifice. This done, when they leave the battlefield the next day, all they do is censure her and call her vulgar.
The scene shifts to the Seinan war in Kyushu. At one stage, government forces are seen trying to control the carriage. As a new element to the original story the film shows these forces being defeated in battle. The commander flees and hides in the home of the female protagonist, a saké server.
The original work is a critique of bourgeois selfishness. [Oyuki] is shown as a humble woman, protected by a young man out to make a success of himself in the world, a Mizoguchi theme so visible in other films.”
--Tadao Sato, Kenji Mizoguchi and the Art of Japanese Cinema

As all his peers leave the countryside moxia.cc to study in Tokyo, Naotaro stays behind.

A socially committed film about the feudal state of many Japanese women in 1946. Hiroko Hosokawa, a female lawyer, defends Mrs. Asakura, who suffocated her child in her grief after her husband died penniless following an industrial accident. The prosecutor is Hiroko's sister's husband Kono, who also sent Hiroko's fiance, Yamaoka, to jail for his liberal views during the war. Yamaoka has just been freed, but is seriously ill from his time in prison.

大富豪藤本は壮年の頃より女に対しての横暴を持って花柳界を荒してきたが、遇々彼が目を付けた若き芸妓、折枝は図らずも彼が昔、弊履の如く捨てた女の忘れ形見である事を知り、鉄槌を受けたように悔恨の情に襲われた。若き頃の過ちを償うため、折枝の幸福を蔭ながら護ろうとした藤本だが、運命は皮肉なもので、我が息子良樹が、腹違いの妹とも知らず折枝に恋してしまったのである。さらに、良樹の竹馬の友佐久間も折枝に心惹かれており、折枝を中心に恋心が複雑に渦巻くのであった。折枝も又、藤本の魔手の次は二人の間の板ばさみに悩む。更に、良樹の妹で社交界の花形早百合子が、その見識とは裏腹に佐久間を恋するという、真に大都会東京の片隅は、めまぐるしく動き続け、因縁の糸に操られるがごとく皮肉な微笑を残して今日もすぎてゆく。

An omnibus of 13 stories singing the praises of Japanese patriotism during wartime, set on the frontlines and back home.