A Woman's Sorrows

It is considered to be a lost film.

It is considered to be a lost film.

War widow Reiko rebuilds and runs the grocery shop in the house of her husband's family. Many years later, their business is threatened by a newly built supermarket and Reiko's in-laws plan to convert their small shop into a supermarket, to her detriment.

Silent comedic short by Mikio Naruse

Keiko, whom everyone calls Mama, narrates her story: she's a hostess on the Ginza, 30, a widow. She describes life's vicious cycle: acting cheerful around drunks, dressing and living well to convey confidence, needing money for these expenses and for her demanding mother and brother, and knowing she's growing older.

A man is involved in a fatal car accident, and though he is blameless, his company transfers him to a remote branch in a small town. Before he leaves, he gives the man's widow a large sum of money that she uses to move back to her hometown.

A married Japanese forester during WWII is sent to Indochina to manage forests. He meets a young Japanese typist and promises to leave his wife. He doesn't and after the war, she turns up and the affair resumes.

A woman marries, gives birth to a stillborn child, and divorces, falls in love with a hotel-keeper, only to find herself subordinated to his drive for success, takes up with a tailor who cannot console himself with her strong personality.

An ingratiating bride develops warm ties to her father-in-law while her cold husband blithely slights her for another woman.

Tashiro coincidentally meets his best friend Sugimoto in a bar very close to the apartment in which Sugimoto’s wayward wife is found dead. Although Tashiro is not a suspect in the police investigation, he is racked with guilt and confesses to his wife, Masako. In an effort to further relieve his tortured sense of guilt, he then confesses to Sugimoto. Neither his wife nor his friend can believe that he could have been involved.

In Depression-era Tokyo, the life of a single mother and her young son are disrupted by the return of her ex-husband, who fathered the child and walked out on her years earlier.

Ten years into a marriage, the wife is disappointed by the husband's lack of financial success, meaning she has to work and can't treat herself and the husband finds the wife slovenly and mean-spirited: she neither cooks not cleans particularly well and is generally disagreeable. In turn, he alternately ignores her and treats her as a servant. Neither is particularly happy, not helped by their unsatisfactory lodgers. The husband is easily seduced by an ex-colleague, a widow with a small child who needs some security, and considers leaving his wife.

Kimiko, a Tokyo white-collar working girl, lives with her serious, intellectual, haiku-writing mother. Kimiko seeks to marry her boyfriend but needs her absent father to act as the go-between and negotiate the marriage. Kimiko travels and finds her father living with a second family.

Based on the life and career of novelist Fumiko Hayashi, she bitterly struggles for literary recognition in the first half of the 20th-century – her affairs with feckless men, the jobs she took to survive (peddler, waitress, bar maid), and her arduous, often humiliating attempts to get published in a male-dominated culture.

A woman and her daughter are in love with the same man, a chef at the restaurant that the mother manages. He is slightly crippled from frostbite in his years in Siberian labor camps and considers himself 'already dead'.

University students Sudo and Mori make money by picking up rich girls in dance clubs and conning them into giving them cash. Mori is the brains of the operation, and Sudo is the suave dancer who picks up the girls. Sudo becomes gradually involved with three different girls and is drawn into the gangster milieu, which he seems unable to resist even though he is responsible for his mother, grandmother, and sister Masako. In this world of bad boys and girls, Masako is the pillar of strength and moral virtue who finally enables Mori to straighten out.