Once More

Japanese film from 1932.

Set in the 1860s, the final years of the Tokugawa Shogunate, The Fireflies focuses on Tose (Awashima Chikage), the mistress of the Teradaya, a small inn in the Kyoto suburb of Fushimi. She does not have an easy life. Her husband, Isuke (Ban Junzaburo), is a wastrel who fancies himself a kabuki singer and who is obsessed with cleanliness. Her mother-in-law, Sada (Miyoshi Eiko) dislikes her because of her humble origins (her family are farmers) and because she fears that she will inherit the inn instead of Sugi, her daughter. Sada's hopes for Sugi, however, are dashed when she runs off with a con artist and leaves her child behind for Tose to take care of. When Sada becomes seriously ill, it is Tose who nurses her. On her deathbed, Sada asks her daughter-in-law's forgiveness. Meanwhile Isuke spends most of his time with a mistress he has taken, forcing Tose to manage the inn by herself

Temari, a geisha, dreams of opening a small restaurant with her little brother.

A great ambition to portray with sharp satire and humor the course of modern anxiety and love that is about to be driven to despair.

Suzuko, a woman in her twenties who has a brother with political problems (due to communist reprisals), lives for over five years in a love affair with Tate who's a young lieutenant in the Army, ultimately becoming a right-wing fundamentalist revolutionary. She marries another man, one totally dedicated to the rigorous practices of Noh theatre, in an arranged marriage, but the bond that connects her with Tate is too strong.

Minowada, a young teacher at a National People's School, has his own theory of education and the daughter of his linguistics teacher becomes drawn to him. Kayo, a strong-willed doctor, is also attracted to him. A mediator tries to arrange a marriage but just at that point Minowada receives military call-up papers.

Half a Loaf... Avarice / Yoku

Alongside Tokyo's Sumida River is a ragpickers' settlement known as Ant Village. One night, a young Catholic girl, Satoko Kitahara, who has been baptized under the name of Maria, comes to offer her services. However, Ant Village is not just an ordinary vagrants' community but a fine autonomous organization, and as the municipal authorities have long been demanding that the people of Ant Village leave the site, Satoko is utilized to publicize the Village and win public sympathy. While being utilized in this manner, Satoko is nevertheless glad to be able to help the people of Ant Village, especially the children, and when the summer vacation comes she decides to take the children on an excursion to Hakone. To raise funds for this purpose she becomes a rag-picker herself.

Otoku asks her brother Bunkichi to speak with her son Seiichi, a young man for whom sacrificed everything but who now seems to be headed for a wastrel life. Bunkichi admonishes the boy to study harder, but it seems his uncle's advice may already be too late.

Follows the story of an insurance company executive from Tokyo, Mr. Mito, who is demoted to the Osaka office. He takes a room at a small inn and tries to rebuild his life.

Ayako, a young woman from a rural fishing village, is sold by her family into a brothel when her father takes ill. There, she is quickly stripped of her innocence and illusions.

Atsuko is an office secretary who is also her family's primary source of income and caretaker in postwar Japan.

This pair of gentle yet witty and inventive comedies from the director of The Neighbour's Wife and Mine typify both the formal experimentation of early Japanese sound cinema and the social milieux that Shochiku tended to depict. 'Virtually plotless, and feeling more like comic sketches than fully developed stories,' writes Arthur Nolletti, Jr, 'these light comedies, or farces, take a wholly trivial matter (often a socially embarrassing situation) and use it as a springboard for a succession of gags.' Much of the films' distinction comes from the wit of Gosho's direction, the imaginative use of the new sound technology and the charm of the acting, particularly of the heroines (Kinuyo Tanaka in Bride; Hiroko Kawasaki in Groom). Yet in both films, Gosho finds room for some shrewd observation of character and environment, subtly exploring the values and assumptions of the suburban petit bourgeoisie.

The story of a selfless mother and her family throughout the decades, from the 1920's to the 1960's.