Fumiko Arita

A young girl knows that she is going to die and in this she is supported by the devotion of the boy who loves her. They originally met at the hospital. There it transpired that the only way to save her life was to sacrifice an eye and part of her face. The operation seems a success. Later, however, her other eye becomes affected. She feels she must let the boy go, and yet she depends so much upon his devotion.

Jiro, a young yakuza, and Mami, a diplomat’s daughter, are two young lovers from different worlds. Having met by accident, they soon discover a new life together. But their love is ill-fated. Mami's family will not accept her choice, while leading an honest life seems like an unattainable goal for Jiro. Can there be anything else but a tragic ending?

This is a factory area in downtown Tokyo, and Hikaru, nicknamed Pika-chan, is a nurse at the Mihara Clinic, a friend of the poor.

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.

1962 Japanese movie