A former aristocratic family faces financial hardship and their daughter is introduced to a nice man in the auto repair business, the hope being that a marriage might be of economic assistance to the family. The daughter's family finds it hard to accept this kind of idea and the young man is uncomfortable with the difference in their social standing. However, everything works out in the end and a happy marriage takes place.

上了岁数的植物学家间宫周吉（菅井一郎 饰）及其家人住在北镰仓一带，长子康一（笠智衆 饰）是东京某医院的医生，女儿纪子（原节子 饰）在东京丸内贸易公司供职，担任经理佐竹宗太郎（佐野周二 饰）的秘书。
年轻貌美、落落大方的纪子已到适婚年龄，周围的好友也都相继成家，她却依旧待字闺中。父母兄长为了纪子的婚事各自用心，佐竹经理亦将出身名门的前辈真锅介绍给她。但是，纪子却独独倾心哥哥的同事矢部谦吉（二本柳寛 饰）——一个丧偶带着三岁女儿且捉襟见肘的男子……
本片荣获1952年蓝丝带最佳女主角（原节子）、最佳摄影、最佳导演和最佳女配角（杉村春子）等四项大奖；1952年电影旬报最佳影片；1952年每日电影最佳女主角和最佳影片。

家住金泽的教师堀川周平（笠智众 饰）是一个人生坎坷的男人，他的妻子早年去世，多年来周平独自含辛茹苦将儿子良平养大。在某次郊游中，一名学生不幸溺毙，周平作为负责人引咎辞职。失去工作后他带着儿子回到故乡信州，并在村里谋得一份差使勉强度日。良平学习还算用功，他进入中学后寄宿学校，而为了能供儿子完成接下来的学业，周平只身前往东京工作。此去经年，黄天不负有心人的良平（佐野周二 饰）考入仙台帝大，进而在秋田的一所学校取得教师的岗位。他日昔盼望和父亲重聚，怎奈周平全力支持儿子的事业，不忍拖周平的后腿。在动荡的岁月迁徙，父子分出两地遥遥相望……
本片剧本是小津安二郎于1937年出征前夕完成的。

An affluent medical professor, Komiya, and his bossy wife, Tokio, are to look after Setsuko, their high-spirited niece from Osaka. Setsuko is a liberated woman who does what she wants, including smoking, even though she is a minor. On Saturday, the professor does not feel like going to his weekend golf game, but his wife packs him off anyway. So he leaves his bag at the apartment of his student Okada, and goes to a bar with a friend. Setsuko traces him there, and insists that he take her to a geisha house. When she gets rather tipsy, the professor calls Okada to take her home, while he sleeps at Okada's. The wife becomes suspicious of Setsuko when she sees Okada bringing her home, and also of her husband when she discovers that he did not go golfing.

插話式的故事，講述的是一對中年夫婦日久生厭的故事。

　　日本第一部彩色剧情片。木下的卡门在国内的知名度，不下于比才的卡门—因为她是直肠直肚的脱衣舞娘。这部风趣歌舞剧，挖苦了战后社会的风俗，也一如木下首作《热闹的港口》，继续拿城市人和乡下人的陈套观念开玩笑。话说卡门在大城市闯出了名堂，成了脱衣舞明星，但改不了憨直品性。她和同道女友一起回乡探亲，派头十足，但乡下人无法接纳，排挤她们。她们只好主动献身，施展所长，为盲眼作曲家任教的小学义演，把戴著有“色”眼镜的人都逗乐了，这才光荣回到城市。高峰秀子改变戏路，野性奔放，活脱脱一个摩登傻大姐，但始终不脱善良本色。

二战期间，为了鼓舞驻军中国的士兵们的士气，日本军方从各部队集结了21个年轻士兵，组成野战军乐队，并任命园田少尉（佐分利信 饰）担当教官之职。园田要在三个月内将他们训练成一群熟练掌握乐器的优秀乐手。然而他们其中有近半数的人根本没有任何音乐基础，为此园田将他们分为两组，有基础的士兵和新手互帮互助。学习的过程十分痛苦，对音乐一窍不通的佐久间（佐野周二 饰）更时常和他的“老师”须磨发生争吵……
日本二战期间的国策电影，李香兰亦在片中出演角色。

西南戦争から日清・日露の両戦争、さらに日中戦争に至る富国強兵政策にダブらせて描く、福岡のある一家の3代にわたる大河ドラマ。田中絹代が出征する息子を捜し、行進する部隊を追っていくラストシーンは感動的である。ただし本作で木下惠介は軍部からにらまれる結果となった。

从战场回到祖国的真弓礼吉（森雅之 饰）为了寻找青梅竹马的初恋爱人道子（久我美子 饰）来到东京，一文不名的他和经营旧书收购生意的弟弟阿洋（道三重三 饰）住在简陋的公寓里，靠弟弟的收入勉强过活。某天，礼吉在街上巧遇军校的同学山路直人（宇野重吉 饰），直人靠写英文、法文信件为生，服务的对象则是一群曾和外籍士兵相恋、而如今恋人回国被留在日本的可怜女性。
不想拖累弟弟的礼吉接受直人的邀请，来到铃兰地区帮助女人们撰写信件。偶然的一天，他邂逅了寻觅已久的道子，而道子恰是这群苦命女性中的一员……

社員たちのスト突入を目前にした製薬会社社長・奥平。ただでさえ頭の痛いこの時期に、焼き芋屋のじいさんが、屋敷の居間で脳溢血で倒れてしまった。病気が病気だけに、むやみに動かすこともできず、じいさんを奥平の屋敷で寝かせることになるのだが……。木下惠介が、自らの脚本を映画化した風刺喜劇。

湘南の海の近くに家を建てたサラリーマンが、借金返済のため会社の部長にその家を貸す。サラリーマンの妻と子供は軽井沢の実家に帰るが、そこではヤクザが暴力事件を起こしていて……。歌舞伎役者・中村勘三郎が現代劇に出演した作品で、ヤクザと対決する男を熱演している。

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.

刻劃年輕人在新舊時代的夾縫中，怎麼捍衛純潔的愛情。醉心寫作的茂夫愛上美那子，遭父親反對，他逃出富裕的家庭，和美那子同居，靠美那子到酒館工作維持生計。茂夫伯父運用影響力害他找不到工作，更跑去勸說美那子離開茂夫。情節有點像我們的粵語長片，但頑固的父親、體諒的母親、替哥哥出頭的妹妹，還有新舊女性特質集於一身的美那子，都只日本老片才跑出來的人物。本片開拓的題材影響不少後來的導演，如小津戰後便拍成《彼岸花》。

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

A humble page fathers a child by the daughter of a clan official and is banished. Years later, the child, now a stable boy, is reunited with his father, but feudal codes threaten their happiness. Uchida’s poignant masterpiece condemns the inflexible class system and launches an indictment of values that favor symbolic objects over human life. The film’s focus is on character rather than swordplay, and charged performances - especially child actor Motoharu Ueki - add to the emotional power.

In the movies of those times, you can see young boys in the company scene often. Those boys were called kyuji (給仕), which means “waiter” literally. They are doing odd jobs in the company including serving tea, ushering visitors, buying tobacco, etc. Ordering lunch for the individual requests was also an important job. Those boys were hired often as soon as they graduated from elementary school.