Shochiku Kinema (Kamata)

Based on the Sakatayama double suicide

Directed by Mikio Naruse. It is presumed to be lost.

Directed by Mikio Naruse. It is presumed to be lost.

The Siege of Osaka

short film about Banchō Sarayashiki.

Kenji and Chuko travel to Hokkaido as migrant workers and enlist as miners under the strict leadership of Guzuyasu. On the boat journey to Hokkaido, Kenji attracts Ohama, who is travelling to Hokkaido to open a bar. When Kenji visits the bar, he chases away a sailor who was hassling a shy girl, Ofuji, which makes Ohama jealous.

Michiko gets pregnant after a rape. She marries a boring business partner of her father to avoid the shame. Later she meets the rapist again who is now a union leader in opposition of her husband.

Directed by Mikio Naruse. It is presumed to be lost.

Directed by Mikio Naruse. It is presumed to be lost.

The seventh film in the popular series starring the Yotamono trio (Mitsui, Abe and Isono). Summer came and the three of them decided to open a store on the beach to get rich...

Directed by Mikio Naruse. It is presumed to be lost.

A modern girl suddenly intrudes into a widower's family home.

This 1932 adaptation is the earliest sound version of the ever-popular and much-filmed Chushingura story of the loyal 47 retainers who avenged their feudal lord after he was obliged to commit hara-kiri due to the machinations of a villainous courtier. As the first sound version of the classic narrative, the film was something of an event, and employed a stellar cast, who give a roster of memorable performances. Director Teinosuke Kinugasa was primarily a specialist in jidai-geki (period films), such as the internationally celebrated Gate of Hell (Jigokumon, 1953), and although he is now most famous as the maker of the avant-garde silent films A Page of Madness (Kurutta ichipeji, 1926) and Crossroads (Jujiro, 1928), Chushingura is in fact more typical of his output than those experimental works. The film ranked third in that year’s Kinema Junpo critics’ poll, and Joseph Anderson and Donald Richie noted that 'not only the sound but the quick cutting was admired by many critics.