The story is about the social problems faced by Japan's indigenous Ainu, mostly centered on the reactions of the characters to their oppressed state.

Hanayome wa Jūgo-sai, directed by Mio Ezaki and distributed by Nikkatsu, stars Masako Izumi and Ken Yamauchi. The high-key pink background and casual photographic portrait embody Nikkatsu’s 1960s youth-film aesthetic. Clean, hopeful, and pop-oriented. The large white title, handwritten for a softer impression, injects playful energy that contrasts with the strict vertical text blocks. As Japan’s youth culture blossomed after the 1964 Tokyo Olympics, posters like this captured the spirit of romance and rebellion marketed to teenage audiences. The vivid color palette and carefree composition signal a stylistic shift from postwar black-and-white melodrama to the vibrant optimism of modern Technicolor cinema.

The rehabilitation of a delinquent on leaving reformatory. Her redemption comes through a boy in a wheelchair; by his rehabilitation, growing comes in courage along with her patient, she grows by finding meaning in her own existence. She finally sees a new world before her and has the determination to lead a normal life.

時は大正初期、悪太郎の異名をとり次々に転校を繰り返す青年、紺野東吾の青春を描いた鈴木清順の佳作。このあと、清純美学の立役者となる美術の木村威夫が、スタッフに初参加。小道具となる巻き紙の手紙を木村自らが書くなど、こだわりの美学の片鱗が見られる。