Song of the Flower Basket

Because of her husband’s suicide, a young widow finds herself suddenly cast into a life of solitude, with only her beloved child in her arms. At first, her pure devotion is directed toward the memory of her late husband, but before long it transforms into a fierce, consuming love for her child. That very love, however, drives her onto a perilous path, leading inexorably toward the tragic fate of a doomed flower. Ah, Mother! For what sin must you endure the scourge of the world? This work is offered in silence and reverence—above all to mothers everywhere. [Adapted from the promotional poster.]

Based on Kōda Rohan's novella The Five-Storied Pagoda.

Poor social conditions badly affect the relationship between a married couple, when the husband, who is desperately searching for work, fails to notice the terrible sacrifices made by his wife when she accepts a job at a local inn.

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

Follows the life of Tsuru, the poor daughter of farmers in Shinshu, Japan.

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.

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.

Story of a woman, Saiko, who divorces her doctor husband when she is given a baby by a stranger who claims it is the husband's child. Saiko embarks on an affair with her cousin's husband, but a crisis threatens when she discovers that her ex-husband is about to remarry.

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.

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.

The eldest daughter of a noble family is in love with an aviator while being courted by a fellow aristocrat she thinks is a dullard. Told from the perspective of Ryota. In this second part, we learn that Akemi is pregnant...

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.

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

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.

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