Kazuo Kitamura

A critique of the Japanese family, seen here as militaristic, absurdly incestuous and patriarchal with the father dominating his family sexually and violently. Nihilistic destruction by the young ones seems to be the only way out.

A small restaurant tucked away in the back of Ginza is run by Keiko, the owner’s daughter. Writers, club owners, corporate executives, and others are drawn to her charm.

This film stays very faithful to the original down to the smallest details, save for the kangaroo-rat that suddenly appears twenty minutes into the movie and subsequently follows Aladdin around, serving no purpose in the story but fulfilling the role of token animal mascot. The story takes some illogical and confusing jumps at the point where Aladdin begins to court the princess, and the extravagant animation that had characterised Toei films of the 60s, when Toei had the best animators around, had become a thing of the past long before this point; but this is still an above-average film, in large part because of the screenplay that stays so faithful to the original. The character designs are slightly more western-looking than one is accustomed to seeing in anime.

Ayako Wakao portrays a downtown rice ball shop girl whose heart is set on her business. Involved in her life are three young men—stage actor Goro, businessman Kokichi and Sanpei Pachinko.

Erotic drama.

1961 Japanese movie