Top Ja-Language Movies
You’re now browsing page 202, where our journey through Ja-language movies continues. If you’ve already encountered some outstanding titles on previous pages, now is the perfect time to dig deeper, uncovering more cinematic gems that highlight the richness of ja-language storytelling. Keep exploring and enjoy the ride!
Utamaro and His Five Women (1946)
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Utamaro, a great artist, lives to create portraits of beautiful women, and the brothels of Tokyo provide his models. A world of passion swirls around him, as the women in his life vie for lovers. And, occasionally, his art gets him into trouble.
Battle Troop (1944)
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Three IJN flyers Mikami (Susumu Fujita), Kawakami (Masayuki Mori) and Murakami (Akitake Kono) are good friends, and they are all renowned for their torpedo techniques. Mikami is posted as a staff officer at a base on an island in the Pacific. Kawakami and Murakami later joins him as the base squardron is reinforced. The enemy task force approaches the island and all three of them attack the fleet, killing themselves in the process.
The Spider and the Tulip (1943)
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A ladybird is being chased by a black-faced spider.
The Life of Matsu the Untamed (1943)
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Matsugoro is a poor rickshaw driver whose animated spirit and optimistic demeanor make him a favorite of the town. Matsu helps an injured boy, Toshio, and is hired by the boy's parents.
Sanshiro Sugata (1943)
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The story of Sanshiro, a strong stubborn youth, who travels into the city in order to learn Jujutsu. However, upon his arrival he discovers a new form of self-defence: Judo. The main character is based on Shiro Saigo, a legendary judoka.
There Was a Father (1942)
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Shuhei Horikawa, a poor schoolteacher, struggles to raise his son Ryohei by himself, despite neither money nor prospects.
Brothers and Sisters of the Toda Family (1941)
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After the death of her husband, an elderly woman and her youngest, unmarried daughter are forced to sell their house to cover his debts and decide to move in with one of the former's children, each of whom is scarcely happy to accommodate.
The 47 Ronin (1941)
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In 1701, Lord Takuminokami Asano has a feud with Lord Kira and he tries to kill Kira in the corridors of the Shogun's palace. The Shogun sentences Lord Asano to commit suppuku and deprives the palace and lands from his clan, but does not punish Lord Kira. Lord Asano's vassals leave the land and his samurais become ronin and want to seek revenge against the dishonor of their Lord. But their leader Kuranosuke Oishi asks the Shogun to restore the Asano clan with his brother Daigaku Asano. One year later, the Shogun refuses his request and Oishi and forty-six ronin revenge their Lord.
The Story of the Last Chrysanthemum (1939)
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In late 19th century Tokyo, Kikunosuke Onoue, the adopted son of a legendary actor, himself an actor specializing in female roles, discovers that he is only praised for his acting due to his status as his father's heir. Devastated by this, he turns to Otoku, a servant of his family, for comfort, and they fall in love. Kikunosuke becomes determined to leave home and develop as an actor on his own merits, and Otoku faithfully follows him.
The Masseurs and a Woman (1938)
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A pair of blind masseurs, an enigmatic city woman, a lonely man and his ill-behaved nephew—The Masseurs and a Woman is made up of crisscrossing miniature studies of love and family at a remote resort in the mountains. With delicate and surprising humor, Hiroshi Shimizu paints a timeless portrait of loneliness and the human need to connect.
Humanity and Paper Balloons (1937)
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In a slum in Edo Japan, a ronin hopes that his deceased father's former master will hire him while a disgraced hairdresser attempts to regain his pride by kidnapping the daughter of a wealthy pawnbroker, who is set to be married.
What Did the Lady Forget? (1937)
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A professor, Komiya, and his bossy wife, Tokio, are to look after Setsuko, their high-spirited niece from Osaka. Despite being a minor, Setsuko is a liberated woman who does whatever she wants, including smoking. She even convinces Koyima to take her to a geisha house. When she gets rather tipsy, the professor calls Okada, one of his students, to take her home. The wife becomes suspicious of Setsuko when she sees Okada bringing her home.
Sisters of the Gion (1936)
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Umekichi, a geisha in the Gion district of Kyoto, feels obliged to help her lover Furusawa when he asks to stay with her after becoming bankrupt and leaving his wife. However her younger sister Omocha tells her she is wasting her time and money on a loser. She thinks that they should both find wealthy patrons to support them. Omocha therefore tries various schemes to get rid of Furusawa, and set themselves up with better patrons.
Osaka Elegy (1936)
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Ayako becomes the mistress of her boss so she can pay her father's debt and prevent him from going to prison for embezzlement.
Mr. Thank You (1936)
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In Depression-era Japan, a courteous bus driver carries an eclectic group of passengers from the mountainous Izu to Tokyo.
The Only Son (1936)
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A silk factory worker is persuaded to support her son's education up to a college level despite their poverty. Many years later, she travels to Tokyo to visit her son.
Wife! Be Like a Rose! (1935)
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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.
A Mother Should Be Loved (1934)
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A young man discovers that the woman who raised him is his stepmother. His stepbrother, who is unaware of the revelation, resents his mother for always punishing him more severely than his stepsibling.