A young yakuza, Yatappe, wanders around the country in search of his long-lost little sister, Oito. While traveling, he rescues a young girl, Osayo, whose father entrusts her to him with his dying wish. To honor his promise to Osayo's deceased father, Yatappe brings her to safety, and from a distance keeps a watchful eye on her well being.

A story of a passionate teacher and his great effort for the children in a poor village.

亚砂子第一次遇见峰雄，是在五月那略带夏日气息的夜晚，也是她十九岁生日的晚上。峰雄突然提议要为身为杂志插画师的他庆祝生日，于是两人在寂静无声的深夜游乐场里，像孩子一样尽情玩耍……。六月某个闷热的梅雨之夜，亚砂子出现在母亲美加经营的俱乐部。亚砂子听到母亲正与一名中年男子跳舞，同时商讨今晚的艳遇，于是前往峰雄的公寓……..

The last Japanese soldier in 16 years who survived

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.

1960 film by Tomu Uchida

眼の見えぬ市（勝新太郎）が、仕込み杖の剣で悪を斬る。「子母澤寛が伝聞で記した小編が、勝新太郎の怪演により時代劇屈指の人気ヒーローとなった。座頭市は天保の頃の盲目の侠客。市という名前以外、本名は不明とされている。通常は揉み治療を渡世として関八州を歩く。博賭もすれば女も好むが、己の信条により非道を行う者には怒りの仕込み杖が襲う。主演の勝新太郎も自ら監督や脚本を手がけるほどの入れ込みようで、仕込み杖を使った逆手の居合いに下駄履き姿など、原作にはない勝新ならではのアイデアが随所にちりばめられている。【この項、時代劇専門チャンネル広報資料より引用】」松平健は、本作のうち第23話「心中あいや節」での庄屋の息子役が正式デビュー作とされている。（実際にはそれ以前の出演ドラマが数本存在する）。一部資料では放送終了が1975/04/07と記載されているが誤りと思われる。また一部資料では結束　信二氏の脚本作品と記載されているが実際のクレジットでは確認できなかった。提供・大正製薬、ニッカウヰスキー、黄桜酒造、カシオ計算機、花王石鹸。

An ethical, young tax collector new to his area encounters increasingly absurd individuals and groups coping with their post-war woes.

祖母とともに花屋を営む娘と、娘の亡兄の友人たちとの友情と恋を描いた青春ドラマ。｢喜びも悲しみも歳歳月｣の佐田啓二と｢女の園｣の久我美子が共演。

Just before the end of the war, Japanese soldier Kitani is released from prison, having served his term for theft. Told in flashback, viewers learn about Kitani's past and reasons behind his prison sentence.

Military doctor Leutenant Hanada deserts during the war in the Philippines with a local girl. The officer in command orders Lieutenant Uji to shoot Hanada. Uji takes a sharpshooter called Takagi and tracks him. At first Uji cannot forgive Hanada but as Uji is isolated from the main force he too starts to think of desertion.

About the struggles of day labourers to achieve dignity and a standard of living above the starvation level. Utilising the Zenshinza theatrical troupe.

Everyone knows Kaneto Shindo from his horror classics 'Kuroneko' and 'Onibaba' and although they're both undoubtedly great films, I've been more impressed by his lesser-known works, like 'Wolf' and 'Human' and now, 'A Scoundrel,' which could be the greatest of the lot. Set in the war-torn 14th century, the film concerns the governor of a province whose chamberlain (the phenomenal Nobuko Otowa, Shindo's wife) tells him of a woman she knew in the Royal court whose beauty could tear a nation apart. The foreshadowing is not so subtle. 'A Scoundrel' was co-written by Shindo and Japan's beloved Junichiro Tanizaki (an author who has not impressed me much, although I've only read very little), and is at once humorous, suspenseful, gruesome, and absolutely fascinating.

1958 film by Mikio Naruse

Loyal samurai Samanosuke is attacked, mutilated, and left for dead while carrying out a mission for his clan. He recovers but has lost an eye and an arm. Taking a new identity as Tange Sazen, he searches for a stolen urn which has hidden significance to his clan. But Tange Sazen has his own reasons for seeking the urn.

As a young woman, Oriko condemned her widowed mother for openly pursuing relationships with younger men. After her mother passes away, she finds herself in an unhappy, loveless marriage and begins to understand her mother’s actions.

In an isolated mountain resort, a woman gets involved in a love triangle between herself, her volatile lover and her ex-boyfriend, for whom she had platonic feelings.

In this intricately layered Japanese film, the nature of actresses and what they gain from acting is explored. The lives of three actresses are laid bare, and scenes from their lives are woven in and out of interviews with each of them. Each of them has experienced a traumatic event which contributes to their particular enjoyment of becoming someone else in dramatic roles.

洛北蓮台寺野で、名門京八流の宗家吉岡の御曹子清十郎の左肩を一撃のもとに打ち砕いた武蔵は、清十郎の弟伝七郎から仇敵とされ、吉岡道場門弟一同から居所を探られる破目となった。武蔵を探しているのは彼等ばかりではない。佐々木小次郎に追われる朱実、お杉婆ア、病床にふけるお通と、城太郎少年も武蔵の行方を追っていた。或る日、光悦にさそわれ遊廓扇屋に上る途中、伝七郎から果し状をつきつけられた。場所は蓮華王院三十三間堂、雪の中武蔵は伝七郎と相対した。青眼と青眼、二本の刀がひらめいた瞬間、武蔵は伝七郎と吉岡の門弟を薙ぎ倒していた。秘かに扇屋に戻った武蔵を吉野太夫はやさしくさとすのだった。翌朝、お通の居場所を知った武蔵は総門附近で吉岡一味にかこまれた。が突如佐々木小次郎が現われ、武蔵との決闘を決めた。明後日の朝、寅の下刻、場所は叡山道、一乗寺の麓薮之卿下り松、そして名目人は壬生源左衛門の一子源次郎を立てることに一決した。高札を見た群衆がひしめき、お杉婆アは息子又八の弔合戦といきみ合った。やがて当日、武蔵が叡山道にかかった時、病身のお通に会った。武蔵が斬り死にすれば自分も生きてはいないつもりというお通の言葉に、剣に生涯をかけた武芸者武蔵の心に、お通に対する恋慕がよぎった。一足先きに着いた武蔵は、松を中心に地形の頂点に立った。やがて吉岩方の姿が現われた。「七十三対一」瞬間、武蔵は相手方の配置を読み、地形を利用した自分の行動をきめた。「しかし勝負は何できめる、敵はおれ一人が目的、その俺の目標は、そうだ本陣だッ、総大将だッ」武蔵の見取図は源次郎少年を中心にひかれた--白鉢巻の間の手裏剣、大小の二刀流の体ごと、下り松に向い疾風逆落しと見事、剣は風を切った。