Acting
The three-hour Ai yo jinrui to tomo ni are / Love, Be with Humanity (1931) starts as a satire of alienation in the world of money, develops into a lumberland epic with a forest fire on Sakhalin Island, turns into a tragedy of King Lear dimensions, and manages to amaze the blasé audience with a happy end in the Wild West.
A modern girl suddenly intrudes into a widower's family home.
No description available.
A small town boy dreams of being a famous fiddler; Meanwhile, two convicts escape from prison and hide in the woods.
Inada plays Betty Yoshida, a singer and dancer from America who arrives in Japan to go on tour, only to be swindled by scheming managers. Penniless and cast to the streets, Betty is taken in by Oki (Nakagawa), a talented tap dancer who introduces her to a group of struggling musicians living and working together.
Japanese silent film from 1928, ranked as Kinema Junpo's second-best Japanese movie of the year.
Japanese silent film from 1929.
Comedy by Kiyohiko Ushihara. Once a full-length feature film, now only 14 minutes remain.
A farmer’s boy, obsessed with his balsa-and-paper flying models and with dreams of real aircraft, develops a friendship with the daughter of the local squire, who introduces the lad to her pilot brother and his flying officer friends; through hard work, and despite the handicap of a lowly class status, he eventually succeeds in qualifying as a pilot and joining the air force.
Part 2 of Holiday in Japan
Japanese silent film from 1927, based on a popular serialized novel by Kan Kikuchi.
Japanese silent film from 1928.
The investigative unit of the Metropolitan Police Department organized a special investigative team to uncover a series of frequent gang robberies and car gangs... This is the first film in the Nippon G-Men series, of which four more films were later released.
Hirano's wife Yasuko had grown weary of her life of poverty. Her feelings of dissatisfaction deepened when she met her elegantly dressed friend Hanako. When Yasuko asked Hanako for advice, Hanako spoke at length about the restrictions and meaninglessness of married life and encouraged Yasuko to divorce her husband. Persuaded by Hanako’s words, Yasuko divorced Hirano and, hoping to emulate Hanako, adorned herself in fine clothes, applied heavy makeup, and sought to revel in her newfound freedom. But instead of admiration, she was met with ridicule and contempt. Even her attempts to gain recognition from magazines like Hanako’s went unanswered. She applied to work as a café waitress but was rejected, and when she became an office clerk at a company advertised publicly, she was treated as a nuisance. After being tossed about by these setbacks, Yasuko finally came to understand the love of her husband, Hirano.
Japanese silent film from 1930. The second chapter of "The Big City: Labor" (1929).
