Chishû Ryû

Chieko Baishô

Kiyoshi Atsumi

Ruriko Asaoka

Tora visits his family after a year. After a misunderstanding he gets upset and leaves to end up in the countryside. On the way he meets Lily and they feel a connection. Sometime later Tora meets Lily again and she spends some time together.—lievebees

Tora-san's Forget Me Not

Tora-san's Forget Me Not (1973)

Masao Shimizu

Tora-san's Dream-Come-True

Tora-san's Dream-Come-True (1972)

Seiji Miyaguchi

While Sakura and Hiroshi struggle to save funds to build a house, Torajiro befriends three young women on vacation during his travels.

Tora-san's Dear Old Home

Tora-san's Dear Old Home (1972)

Takashi Sasano

Ken Mitsuishi

Tora-san's family's neighbor, Akemi, who had been married in Marriage Counselor Tora-san (1984), runs away from her husband, who is only interested in work. Tora-san follows her to Shikinejima, and attempts to bring her back to her home. In doing so he encounters a school-reunion group who are traveling to meet their elementary school teacher, which is a reference to the film Twenty-Four Eyes by Keisuke Kinoshita. Tora-san joins them and falls in love with the teacher.

Tora-san's Island Encounter

Tora-san's Island Encounter (1985)

Toshinori Omi

In his travels through Japan, Tora-san meets and falls in love with a female doctor, however he is afraid of committing to a relationship.

Tora-san's Salad-Day Memorial

Tora-san's Salad-Day Memorial (1988)

Mari Natsuki

The well-intentioned, kind-hearted, and somewhat awkward but always lovable Tora-san makes one of his periodic visits to his sister and her family in Tokyo. His nephew, Mitsu, is depressed because he has failed his university entrance examination, and also because Izumi, a young girl he is in love with, has transferred to a school in Saga, Kyushu. Mitsuo leaves home and finds her, but her bad-tempered uncle disapproves of her riding around with a young man from Tokyo. Tora-san gets involved in this complex interplay of relationships, and in his usual delightful and unexpected way, facilitates a satisfactory resolution.—L.H. Wong

Otoko wa tsurai yo: Boku no ojisan

Otoko wa tsurai yo: Boku no ojisan (1989)

When Izumi can't stand seeing her mother flirt with other men, she leaves home. She sends a letter to Mitsuo and Mitsuo goes looking for her. But Izumi unexpectedly meets Tora-san.

Tora-san Confesses

Tora-san Confesses (1991)

Kunie Tanaka

Taku Kido

After a quarrel with his mother, Torajiro sets off to find a bride.

Tora-san, the Good Samaritan

Tora-san, the Good Samaritan (1971)

Jun Miho

During his travels, Tora-san comes across a traditional theater he used to visit, and discovers that one of his old friends has died. Tora-san and his family help the friend's daughter, who becomes romantically involved with an aspiring artist.

Otoko wa tsurai yo: Shiawase no aoi tori

Otoko wa tsurai yo: Shiawase no aoi tori (1986)

Toshirô Mifune

Tora-san, the näive and romantic peddler, returns once more to his home in Hokkaido where, as usual, he falls in love with a lovely young lady. The girl this time is Rinko Ueno, who has come home in an attempt to repair her relationship with her gruff veterinarian father, Junkichi 'Jun' Ueno. Tora-san gets caught up in the entanglements not only between Rinko and her father but between Dr. Ueno and Etsuko, a restauranteur with amorous plans for the ornery veterinarian.—Jim Beaver

Tora-san Goes North

Tora-san Goes North (1987)

Jun Fubuki

Tora-San Makes Excuses

Tora-San Makes Excuses (1992)

Midori Satsuki

A playboy-gambler friend of Tora-san's dies and, abandoned by his mother, his little boy suddenly turns up in Shibamata. Searching for the boy's mother, Tora-san meets a cosmetics saleslady and the three become a surrogate family, with Tora-san as "daddy".

Tora-san Plays Daddy

Tora-san Plays Daddy (1987)

Takashi Shimura

Tora-San, an itinerant peddler who is thrown out of his father's house twenty years before but reconnects with his aunt, uncle and sister Sakura. Tora wreaks some havoc in their lives, like getting drunk and silly at a marriage meeting.

Tora-san, Our Lovable Tramp

Tora-san, Our Lovable Tramp (1969)

Kyôko Kishida

Mariko Okada

Daisuke Katô

In the early 60's in Tokyo, the widower Hirayama is a former captain from the Japanese navy that works as a manager of a factory and lives with his twenty-four year-old daughter Michiko and his son Kazuo in his house. His older son Koichi is married with Akiko that are compulsive consumers and Akiko financially controls their expenses. Hirayama frequently meets his old friends Kawai and Professor Horie, who is married with a younger wife, to drink in a bar. When their school teacher Sakuma comes to a reunion of Hirayama with old school mates, they learn that the old man lives with his daughter that stayed single to take care of him. Michiko lives a happy life with her father and her brother, but Hirayama feels that it is time to let her go and tries to arrange a marriage for her.—Claudio Carvalho, Rio de Janeiro, Brazil

An Autumn Afternoon

An Autumn Afternoon (1962)

Akira Takarada

Yôko Tsukasa

Keiju Kobayashi

Drama about the lives of the five daughters and daughter-in-law of a store owner.

A Woman's Place

A Woman's Place (1962)

Takahiro Tamura

Kazuko Motohashi

Keiko Yukishiro

An old man, being rowed along a river, sees a field of daisies and thinks back to when he was fifteen. He recalls his time with, and away from, the girl cousin he grew up with and would have married, except the family and other pressures got in the way.—sharptongue

She Was Like a Wild Chrysanthemum

She Was Like a Wild Chrysanthemum (1955)

Kamatari Fujiwara

Sô Yamamura

Yûji Hori

Setsuko is unhappily married to Mimura, an engineer with no job and a drinking habit. She's always been in love with Hiroshi, but he left for France years ago without proposing. Now he is back and Mariko (Setsuko's sister) tries to reunite them, although secretly she loves him too.

The Munekata Sisters

The Munekata Sisters (1950)

Yoshio Inaba

In the turn of the Twentieth Century, the rickshaw driver Matsugoro "Matsu" is a happy man and a troublemaker well-known by everyone in his village. One day, Matsu sees an injured boy, Toshio, and brings him home. His mother Yoshiko Yoshioka asks Matsuo to take the boy to the doctor and then her husband Capt. Kotaro Yoshioka asks her to reward Matsu. However the rickshaw man refuses the money and becomes a friend of the family. When Kotaro unexpectedly dies, Matsuo helps Yoshiko to raise her son. Soon he falls in love with her, but he does not dare to open his heart to Yoshiko since they belong to different social classes.—Claudio Carvalho, Rio de Janeiro, Brazil

The Rickshaw Man

The Rickshaw Man (1958)

Kiyoshi Kurosawa

Masahiko Tsugawa

Tsutomu Yamazaki

At the beginning of the film the father-in-law of the protagonist dies unexpectedly of a heart attack. The remainder of the film is episodic, moving from one incident to another over the course of the three-day funeral, which is held (as is customary) in the home. These incidents contrast old ways and new ways, young and old, ritual ceremony and true feelings, often comically, but sometimes with real poignancy.—Doug Shafer

The Funeral

The Funeral (1984)

Approaching his senior years, widowed Manbei Kohayagawa is the owner of a small family run sake brewery in Kyoto. Hisao, his daughter Fumiko's husband, works for the company. Another daughter, Osaka based Akiko, who works at an art gallery, is widowed, her deceased husband who decided not to work in the family business, but maintain his own career as a college professor. Kohayagawa's third and last daughter, Noriko, a clerk in an office, has never been married, but is now of marrying age. Because the business is not doing well as it cannot compete with the larger sake companies, Kohayagawa wants to ensure that all his daughters are taken care of financially, which means finding husbands for both Akiko and Noriko, that task which is aided by Kohayagawa's younger brother-in-law, Yanosuke Kitagawa. Akiko and Noriko know about the arrangements with the potential husbands - although Akiko's first "date" is more of a surprise to her - and generally go along with the dates as are requested of them, but neither is sure if it is what she is looking for for herself. Akiko is quite content with her current lot in life, taking care of her growing son, Minoru. And Noriko has only confided in Akiko that she has a close friendship with a man named Tadashi Teramoto, a teacher who has just moved to Sapporo indefinitely for work. Kohayagawa's want for his daughters may also be because he has rediscovered companionship in his own life, with a former mistress, Sasaki Tsune, who he accidentally ran into after not seeing her for nineteen years. Sasaki has told him that her twenty-one year old daughter, spoiled Yuriko Tsune, is his biological daughter, something he believes, although Sasaki doesn't really know or care, as doesn't Yuriko, especially if they can get out of him what they want. Kohayagawa's family does not know of Sasaki currently in his life, but they do know of his marital indiscretion previously with her and do suspect that his "business meetings" which are ruses to meet with her are not what he says they are. Something that happens to Kohayagawa leads to Akiko and Noriko coming to some decisions about their own lives.—Huggo

The End of Summer

The End of Summer (1961)

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