Hiromi Katô

A coming-of-age entertainment film set to the tune of the hit song of the same name, depicting the friendship between a young photographer who believes in tomorrow and strives to live a bright and healthy life, and his three daughters.

Like a girl runaway, Tsuyu moves to Osaka to work as a bar hostess. She meets the owner of a model school, Yoko, and seriously thinks about becoming a fashion model. Yoko tells her that she can move in to Yoko’s house to take lessons, while making a living at the same time.

When a US army sergeant is found drowned in Tokyo Bay, an investigation is launched to determine how and why he lost his life. The investigation uncovers a black market scheme involving counterfeit money, murder, and conspiracy.

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.

One summer day, the chief monk of the Hojuin Temple dies. Harumichi rushes back to town hearing about his brother's death and requests for a grand funeral. He had been unwilling to take over the family business and had chosen a life as a middle school teacher far away from home, but considering the circumstances, he changes his mind. As the new chief of Hojuin, Harumichi scrambles around day after day for donations. He has kept strictly to the straight and narrow, until he passes a bicycle race track where the sounds of cheering fans induce him into a new way of life...

Musical actress Noriko feels frustrated by the futility of her affair with a married man. Then she is offered a role in a new production that appears to mirror her own private life... An excellent work that stylishly depicts its gradually evolving heroine.

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.