Films & Shows from Shochiku
You’re now browsing page 12, where we continue to showcase even more remarkable titles produced by Shochiku. If you’ve already discovered some standout works on previous pages, now’s the perfect time to delve deeper and find your next favorite. Keep exploring and enjoy the journey!
Bitter End of a Sweet Night (1961)
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An opportunistic department store clerk gets involved with three women and attempts to manipulate them so he can move up the social ladder.
Love New and Old (1961)
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A woman brings her injured daughter to the hospital, only to realize that the doctor is the estranged father of her child.
Spring Dreams (1960)
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When a wealthy, selfish family decides to take care of an elderly hobo who collapsed near their home, they are beset by visits from his numerous friends.
Cruel Story of Youth (1960)
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A budding gangster enthralls a freeloading young woman, soon taking advantage of her knack for hitch-hiking to rob middle-class, middle-aged men.
Youth in Fury (1960)
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A reckless student contemplates terrorism in a prescient film that confirmed Shinoda as a fearless member of Shochiku's iconoclastic New Wave. At the height of student protests, Shimojo takes his aggressions to another level, beset by seemingly insoluble feelings of alienation.
Blood Is Dry (1960)
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An employee in an assurance company threatens to commit suicide when management announces a massive layoff, the company uses this threat to its own advantage by turning the incident into an advertising campaign. With the success of the campaign, however, he is no longer a desperate man pointing a gun to his head, but a potential leader who wishes to take advantage of his failed suicide.
Good-for-Nothing (1960)
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Yoshida's first feature follows the lives of young students against a background of jazz, emptiness and boredom. The plot is fairly simple: a "good-for-nothing" from a poor background falls in love with the young secretary of his rich friend's father. The woman senses good in him and tries to lead him on the right path.
Night and Fog in Japan (1960)
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Uninvited guests crash a former student radical's wedding and accuse him, his bride and other guests of ignoring their political commitments.
The Sun's Burial (1960)
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In Osaka's slum, youths without futures engage in pilfering, assault and robbery, prostitution, and the buying and selling of identity cards and of blood. Alliances constantly shift. Tatsu and Takeshi, friends since boyhood, reluctantly join Shin's gang. Shin's an upstart and moves his gang often to avoid the local kingpin. Hanoko is a young woman with ambitions: first she's in the blood business with her father, then she joins forces with Shin. She soon breaks off that partnership, even though she's taken the sensitive Takeshi under her wing. Double crosses multiply. Those with the closest bonds become each others' murderers.
Late Autumn (1960)
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A woman and her daughter are each forced to contend with an increasing pressure to marry, particularly from three men who knew her late husband.
Thus Another Day (1959)
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A father curries favor with his bosses to further his career, but his wife has lost faith in him. She returns to her family home while they rent out their house during the summer to pay off their mortgage, and there she meets a lonely old man...
Good Morning (1959)
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A lighthearted take on director Yasujiro Ozu’s perennial theme of the challenges of intergenerational relationships, Good Morning tells the story of two young boys who stop speaking in protest after their parents refuse to buy a television set. Ozu weaves a wealth of subtle gags through a family portrait as rich as those of his dramatic films, mocking the foibles of the adult world through the eyes of his child protagonists. Shot in stunning color and set in a suburb of Tokyo where housewives gossip about the neighbors’ new washing machine and unemployed husbands look for work as door-to-door salesmen, this charming comedy refashions Ozu’s
Equinox Flower (1958)
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Wataru Hirayama's outwardly liberal views on marriage are severely tested when his daughter declares that she is in love with a musician and is adamant to live life her own way, instead of agreeing to an arranged marriage. Outwitted by his female relatives, Hirayama stubbornly refuses to admit defeat.
The Ballad of Narayama (1958)
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In Kabuki style, the film tells the story of a remote mountain village where the scarcity of food leads to a voluntary but socially-enforced policy in which relatives carry 70-year-old family members up Narayama mountain to die. Granny Orin is approaching 70, content to embrace her fate. Her widowed son Tatsuhei cannot bear losing his mother, even as she arranges his marriage to a widow his age. Her grandson Kesa, who's girlfriend is pregnant, is selfishly happy to see Orin die. Around them, a family of thieves are dealt with severely, and an old man, past 70, whose son has cast him out, scrounges for food. Will Orin's loving and accepting
Tokyo Twilight (1957)
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Two sisters find out the existence of their long-lost mother, but the younger cannot accept the fact that she was abandoned as a child.
Danger Stalks Near (1957)
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The plans of a trio of burglars are continually thwarted by the arrival of visitors to the house they plan to rob.
Black River (1957)
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A university student moves into an apartment building and becomes involved with a waitress. The landlord then attempts to evict the tenants and sell the building through illicit means.
Early Spring (1956)
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A young Tokyo salary man and his wife struggle within the confines of their passionless relationship while he has an extramarital affair.