Jidai-geki by Kiyoshi Saeki

On a Sunday morning, young dentist Toshio Ezaki wakes up with a hangover, on a bench in his office. He finds a poisoned woman in a green-striped Western-style outfit lying in his exam room. He must retrace his blurry steps of the night before, and navigate a web of embezzlement, murder, framings, and false identities in Tokyo's Ginza district, to discover the identity of the dead woman and why she is there—and hopefully prove his innocence, before his wedding in three days...

Japanese propaganda film

A young man rents an apartment in Tokyo and discover it was built by his father. He falls in love with the daughter of the mistress of the house and decides to marry her. Only to discover that his father is is in debt and wants him to marry Ranko so that she may help his company by granting 1.5 million yen. Teruko decides to borrow money from a greedy bar owner who lends her money on certain conditions and photographs her without her consent. A love traingle forms between Koroku, Ranko, and Teruko. Things complicate when Koroku marries Teruko and Tsugawa threatens them for the money causing many twists and turns.

Song of the White Orchid was a co-production of Toho and Mantetsu, the railway that served the colonial region of Manchuria, and the first film in the Kazuo Hasegawa/Shirley Yamaguchi (Ri Koran) “Continental Trilogy.” Handsome Hasegawa (representing Japan) runs up against an impertinent Yamaguchi (representing the continent); not surprisingly, in the course of the film the woman comes around and realizes the benevolent intentions of the Japanese. In Song of the White Orchid Yamaguchi leaves Hasegawa, who plays an expatriate working for the railway, because of a misunderstanding. She joins a communist guerilla group plotting to blow up the Manchurian railway. Learning of the subterfuge that led to the misunderstanding, she renews her faith in Hasegawa—and by extension Japan—and tries to undermine the plot.