A jewelry store president begins to fall for the doctor treating her husband's illness.

A middle-aged father has just married off his third daughter, but still has his nine year old son to raise whom he resents as he was unwanted.

此版本的《伊豆舞孃》拍攝於1960年，松竹公司，川頭義郎導演，鰐淵晴子、津川雅彥主演，彩色電影。無IMDb號碼。

On vacation's eve, a boy is sent to the countryside to live with his uncle after his father is imprisoned and accused of embezzlement.

传奇女星李香兰，“满映”时期粉饰之作。 中国东北三、四十年代中，伪满洲国一个东京的花花公子来到了满洲，他在中国的期间学会节约、责任、友善等，并有李香兰在内的一中、一日两个女孩都爱上他，展开了一段三角恋情。 这是一部令了解中日历史的观者感情复杂的怪胎式的电影，创作者竭尽全 力地创造出了一幅伪满洲国和谐安康的美丽图景，大家熟悉的老一辈电影人凌元、蒲克都在里面饰演配角，一个是女主角的母亲，一个是女主角的同事。 女主角李香兰放到今天看仍然是一顶一的大美女，歌声动听，有些象宫泽理惠，冰滑得非常好，落落大方，健康美丽，中文日文都极流利。 男主角是个日本演员，有些象蓝马，但比蓝马要胖，憨憨的样子，包括李香兰在内的一中、一日两个女孩都爱上他，仅从形象上说，无以服人。 写的都是东北三、四十年代中、日百姓融为一体的生活中的点点滴滴，黑白胶片上映照出来的街道、院落、餐馆均为当时当地的外景，不经意间记录下了那个年代中国东北的风貌，很象老北京，看着非常亲切，而哈尔滨的教堂、冰冻的松花江、冰雕十字架、冬泳的白俄们，令观者倍感新鲜。 由于影片刻意营造的是所谓“大东亚共荣圈”最为理想的水乳交融的状态，因此，日本人努力融入“满洲”生活就成了故事的最核心，透过一个来自东京的花花公子在满洲学会节约、责任、友善等的故事，赞美了不少中国人的美德，也对中国的围棋、字画等，仰慕与夸赞。 片中的所有中国角色对日本人都是微笑欢迎、热情款待的，表现得既纯朴善良又谦和有礼，没有丝毫矛盾和冲突，这在对那段历史略知一二的中国观众看来，就显得过于粉饰了。 片中，日语与中文杂陈，处理得挺自然，特别是国语对白，比同时期上海片中的道白来得自然舒服得多，表演也都很自然大方，没有特别令人笑场的间离感--只有在李香兰面对男主角的一瞬间，表现出一低头不胜娇羞的样子，稍稍有点儿戏过的感觉，但，还好，总体说来，已经是一部非常自然的电影了，给人非常清新、大方的感觉，丝毫不矫情，颇令人意外。 迎春花（1942年） 監督　佐々木康 出演　李香蘭　白麗（社員） 木暮実千代　八重（支社長令嬢） 近衛敏明　村川武雄（支社長の甥） 浦克　王學民 藤野秀夫　河島支社長 吉川満子　支社長夫人 那威　白大人 張敏　その夫人 日守新一　山森 載剣秋　楊大人 袁敏　その夫人 曹佩箴　美玲 干延江　その弟 周凋　ハルビンの外交員 王宇培　　　〃 関操　安藤課長 三和佐智子　女給仕 路政霖　ホッケー部員 江雲逵　　　〃 宮紀久子　タイピスト 下田光子　　　〃 瀧見すが子　河島家女中 満州映画協会と松竹の提携作品。満州国建国10周年慶祝映画。

かつて武田信玄軍と徳川家康軍が激突した三方ケ原の土地を所有する名家・小名木家に、村の若者たちが食糧増産のための開墾を求めてきた。しかしこの地には祟りがあるから決して鍬を入れてはならないという先祖代々の掟があり、一家は困惑。そんな折、小名木家の家宝でもある名刀“関の孫六”を譲ってほしいと、ひとりの軍医がやってきた……。 木下惠介監督作品には珍しい戦国時代の合戦シーンおよび昭和戦中の軍隊演習から始まるこの作品、一見時局に沿った物々しさを装いつつ、その実、古い因習や迷信に振り回される人々の滑稽さを描いた群集劇スタイルのコメディである。木下監督の故郷でもある浜松の三方ケ原と名刀“関の孫六”をモチーフに、当時の社会情勢を背景とした確執や恋愛など複雑怪奇に入り乱れていく人間模様がクライマックスで一気に収束し、見る者に爽やかなカタルシスをもたらす趣向はお見事の一言

A boy falls in love with a girl. Neither of them know that she's to be sold to a brothel.

Graduate Okajima finds his old-fashioned beard makes life difficult in a comedy exploring the tension between tradition and modernity.

A young man discovers that the woman who raised him is his stepmother. His stepbrother, who is unaware of the revelation, resents his mother for always punishing him more severely than his stepsibling.

1933 film by Mikio Naruse

Zatoichi comes upon a dying man who asks him to give a bag of money to "Taichi". Zatoichi has no idea who this is but when he comes upon a small town harassed by gangsters, he finds that "Taichi" was the man's young son. Along his travels he also met a blind monk who makes Zatoichi question his murderous lifestyle. In trying to help the town, Zatoichi kills some gangsters and becomes a hero to the boy. He must make a choice of whether to use non-violence and set a good example, or violence and set the boy on the wrong path in life.

The brothers of Children In The Wind deal with declining family fortunes: they must work when the father becomes sick, and eventually live with their grandfather, which means making new friends and struggling with a different environment.

An errant salaryman's son gets lost until a man from the Tokyo tenements brings him to vendor Tane, who's reluctant to let the kid board.

1932 film by Yasujiro Ozu

A silk factory worker is persuaded to support her son's education up to a college level despite their poverty. Many years later, she travels to Tokyo to visit her son.

After the death of her husband, an elderly woman and her youngest, unmarried daughter are forced to sell their house to cover his debts and decide to move in with one of the former's children, each of whom is scarcely happy to accommodate.

When Wabisuke's father-in-law unexpectedly dies, the family goes through a series of random events and occurrences as the funeral unfolds over three days in their home.