A comedy about two salarymen who routinely degrade themselves for their boss.

スト解決後最初の東宝第一プロ作品で、四つの物語を別々のスタッフが製作した「四つの恋の物語」の第2話。 美津子は、二度目の旦那と別れて、ダンサーだった頃に知り合った有田と同棲していた。しかし、有田が絹子という新聞売りの娘と知り合って以来、自己を反省し真剣に働きたいと考えるようになったのを知った美津子は、わざと愛想づかしを言って自ら彼のもとを去って行く。

The Angry Street includes a great deal of location shooting in the rebuilt city, including downtown streets, residential neighborhoods, the campus of the University of Tokyo, and the high life of jazzy dance halls. Sudo (Hara Yasumi) and Mori (Uno Jukichi) are two university students who make money by picking up rich girls in dance clubs and conning them into giving them cash. Mori is the brains of the operation, and Sudo is the suave dancer who picks up the girls. Over the course of the film, Sudo becomes involved with three different girls and is drawn into the gangster milieu, which he seems unable to resist even though he is responsible for his mother, grandmother, and sister, Masako (Wakayama Setsuko). In this world of bad boys and girls, Masako is the pillar of strength and moral virtue who finally enables Mori to straighten out.

The third film that Naruse made in 1950, White Beast (Shiroi yaji, 1950), was described by Kinema Junpo critic Tsumura Hideo three years later as "so indescribably miserable as to haunt me even today." Tsumura represents the bulk of Japanese critics of the time, who felt that Naruse experienced a terrible slump throughout the 1940s and this film seemed to be the "bottom of the ocean." The critical establishment was clearly not prepared to accept a woman's prison film featuring former prostitutes recovering from venereal diseases, unwanted pregnancies, and estranged lovers. With its catfights, hysterical tantrums, film noir lighting, and dramatic music, White Beast is indicative of the new influences of the Hollywood psychological thriller on Naruse. Caged (John Cromwell, 1950) initiated a cycle of women's prison movies in the United States that may or may not have been shown in Japan, but the stylistics of White Beast draw on the same paranoid woman's films and film noir conventions that preceded the American cycle.

关于一个新来到小城中，从事各种工作的工人的打闹喜剧。

旅役者

A woman and her daughter are in love with the same man, a chef at the restaurant that the mother manages. He is slightly crippled from frostbite in his years in Siberian labor camps and considers himself “already dead.”

Kyoko, the daughter of a successful novelist, marries an aspiring writer. However, her husband’s difficulties with his writing and his resentment over her father cause deep strains in the marriage.

在一片普通的住宅区，生活着平凡的冈部一家四口。男主人冈部（山口勇 饰）是武藏人寿保险的销售员，但是他的业绩平平，收入自然稀薄可怜。结果家里破破烂烂，妻子（浪花友子 饰）儿女食不果腹，时而被房东追讨房租，时而又因儿子阿进（加藤清一 饰）惹祸而被别人的家长找上门来。不过冈部毫不气馁，因为只要他将富有的户田家拿下，他便可以摆脱贫穷的困境。
次日，冈部整装出发，到了户田家门口却发现敌对公司的销售员中村（关时男 饰）正在大拉业务。两人因此大打出手，结果热恼了女主人（明山静江 饰），最终被轰了出去。为了得到保单，这两个小人物想尽了一切办法……

她是一家酒吧的侍酒女郎，夜幕降临以后，她带着浅吟低笑走入这片声色场所，周旋在各色人等之间。这是一份颇让人瞧不起的工作，然而没有其他技能的她只能继续流连于此，只为赚取足够的生活费养活尚且年幼的儿子。白日里，她拖着疲惫的身体返回破落的居所，从邻居好心的大叔大婶手中领会孩子，男孩活泼可爱，是母亲于这艰难世上仅有的慰籍与欢乐。
某天，销声匿迹已有三年之久的丈夫返回家中，虽然一万个憎恨与不情愿，但是妻子还是接受了丈夫。他发誓改过自新，尽快找到工作，无奈天不遂人愿，日子一天天过去，他始终未找到一份合适的营生，而她也不得不在丈夫复杂的目光注视下继续抛头露面……

已是年老色衰的艺伎菊江（吉川満子 饰），为了支持儿子义雄（磯野秋雄 饰）的学业，不得不一次次抛头露面，靠卖笑赚取营生。然而义雄却并不理解母亲的苦衷，反而深以母亲的职业为耻。正处在青春期的他心中满是苦恼与愤懑，不仅经常逃学，还与不良少年们混在一起。似乎，只有与菊江同在一间艺伎馆的照菊（水久保澄子 饰）才能触摸到义雄脆弱的心，两人既像姐弟，又如恋人。
在与母亲的一次冲突过后，义雄随照菊来到她出生的故乡——一个傍海且贫穷落后的小渔村旅行散心。在这里他发现，外表美丽可亲的照菊竟然也有着无尽的痛苦以及难以逃脱的宿命……

傾きかけた老舗の酒屋の主・健吉（汐見）の娘、邦江（千葉）と紀美子（梅園）。しかし、紀美子は愛人のお葉（伊藤）の子であった。邦江は、健吉とお葉、紀美子が一緒に暮らせるように、自分は結婚して家を出ようとする。チェーホフの『桜の園』から着想した作品。

一部在东京市中心浅草地区置景的情节剧。三个姐妹被她们的母亲像奴隶一样管制着，希望能将她们培养成三弦琴街头艺人。二姐对可怕的母亲言听计从，大姐和她的爱人私奔了。某天，二姐在街头遇到了她的大姐，她正在为和丈夫返回他的家乡筹款。她们的母亲拒绝帮助，二姐打算从她那些阿飞朋友们手中通过游戏的方式骗到点钱。结果他们骗的那个男人成了小妹的男朋友，二姐在躲避冲突时受伤了。她隐瞒自己的伤口，去车站为大姐送行。

一个关于竞争与自我牺牲的爱情故事，发生于明治末期。三弦琴艺人鹤八与民谣歌家鹤次郎是一个传统音乐组合。不过他们常常争吵。他们分开了，鹤次郎却无法靠自己兴旺。他们就又复合了，但当鹤次郎发现鹤八陷入一场恋爱之中时，便故意与她争执到分崩离析的地步，好让她安心去结婚。