The first half of the movie depicts a man's jealousy of his best friend and the woman he love. The second part depicts a hero who is ready to put the past behind him and risk his life for his friend.

Utamaro, a great artist, lives to create portraits of beautiful women, and the Tokyo brothels provide his models. A world of passion swirls around him, as the women vie for lovers, and, occasionally, his art gets him into trouble.

The ambiguous relationship between a woman musician and her young student.

Otoku asks her brother Bunkichi to speak with her son Seiichi, a young man for whom sacrificed everything but who now seems to be headed for a wastrel life. Bunkichi admonishes the boy to study harder, but it seems his uncle's advice may already be too late.

A mournful masterpiece by Kinugasa Teinosuke

Graduate Okajima finds his old-fashioned beard makes life difficult in a comedy exploring the tension between tradition and modernity.

Two people are fascinated by a sculptor's statue. The film is lost.

Two cowardly palanquin carriers know the culprit of a murder, but are too scared to report it to the police. In the meantime, an innocent man is arrested as the murderer and chaos ensues.

This 1932 adaptation is the earliest sound version of the ever-popular and much-filmed Chushingura story of the loyal 47 retainers who avenged their feudal lord after he was obliged to commit hara-kiri due to the machinations of a villainous courtier. As the first sound version of the classic narrative, the film was something of an event, and employed a stellar cast, who give a roster of memorable performances. Director Teinosuke Kinugasa was primarily a specialist in jidai-geki (period films), such as the internationally celebrated Gate of Hell (Jigokumon, 1953), and although he is now most famous as the maker of the avant-garde silent films A Page of Madness (Kurutta ichipeji, 1926) and Crossroads (Jujiro, 1928), Chushingura is in fact more typical of his output than those experimental works. The film ranked third in that year’s Kinema Junpo critics’ poll, and Joseph Anderson and Donald Richie noted that 'not only the sound but the quick cutting was admired by many critics.