Seiji Izumi

A young judo athlete ends up working as a cabaret bouncer.

As she takes a position as a gym teacher at a girls’ school as a form of “life training” before marriage, what awaits her is… A coming-of-age story of laughter and tears that unfolds at this all-girls’ school, revolving around a rookie teacher.

Yosuke Machida of the Daito Shinpo hears from a boy named Toshi-bo, whom he found on the street, that Toshi-bo’s older sister, Toyo, was deceived by a man named Taichi Tachikawa and sold into prostitution in a red-light district. He then set foot in this district for the first time and met Michiko Kawabe, a female reporter known by the nickname “Yoshie.” After hearing various details about the situation from her, he learned that Toyo was at “Kotogawa.”

A young army surgeon, Kyoji Fujisaki, accidentally contracts syphilis during a WWII field operation. Back at his father’s clinic, he treats himself in secret and breaks off his engagement rather than risk his fiancée’s future, even as he confronts the irresponsible patient who infected him—testing his ethics, pride, and capacity for sacrifice.

A thriller of deduction and duels, in which a newspaper reporter bravely takes on a gang in the city’s skyscraper district over a mysterious recording by a diva.

Ken Uehara plays the role of a prominent figure in the red-light district and portrays his violent personality.

Ren Yoshimura directed this Daiei melodrama that was based on the novel entitled "Pandora's Box" by Dazai Osamu.

Tamio Moroi, a young university graduate, works at a large brewery where he is taught to do nothing but look busy. When his father goes insane, he is told to send money for medical research into the condition. This prompts him to pay his father a visit, leading to a series of mishaps that leaves him at the bottom of the heap in what he once expected to be a promising lifetime career.

A young female president of a company who hates men and a new male employee who hates women: a one-on-one fight in which sparks fly! A cheerful youth film!

A judo movie.

A yakuza man who dreads being released from prison, yet the day of his release arrives. Awaiting him are a woman’s burning gaze and the muzzle of a gangster’s gun…

Kamezo, a manzai comedian, had been taking a break from performing while his partner Tsuruko was giving birth, but Tsuruko announced that she was retiring from the stage. That child was, in fact, the son of Takashi Yashiro, a politician with a promising future. Believing that a relationship between a politician and a female manzai comedian would bring unhappiness to Yashiro and his wife, Tsuruko changed her address and was even preparing to leave the stage. Tsuruko’s alcoholic father, having caught wind of this, snatched the child, Yoko, and squandered the small sum of money he had received from Yashiro on drinking.

A dispute over the estate of a wealthy family’s patriarch erupts between the son’s widow and her child on one side, and the villain’s niece and brothers on the other. When the villains’ carefully crafted facade is exposed, a monk who sides with the widow puts on the performance of a lifetime. A heartwarming pastoral comedy rich in human warmth.

It is a historical drama that follows Katsu Kaishu's efforts to surrender Edo Castle bloodlessly in the first year of the Meiji period.

Enoken's first film at Daiei.

In Ginza Hachō, where violence and lust swirl, sparks fly from iron fists and passion against a backdrop of song and dance.

A realistic film that sharply portrays a cross-section of postwar society.

"Around the time he made such remarkably ambivalent war films as Mud and Soldiers and Five Scouts, Tasaka directed this 'home front' comedy-drama which is too bizarre to be serious propaganda. [The plot revolves around a public contribution campaign to buy airplanes.] The mayor's aviator son promises to fly over the village in salute, and much of the narrative concerns the preparations for this great event. Tasaka throws in a few songs, some village humor and satire, and tremendous camera mobility, finally wringing every possible effect from his climax." John Gillett, British Film Institute