Suisei Matsui

Japanese comedy film.

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A Communist spy ring in Japan is hard at work trying to sabotage the American war effort during the Korean War, using kidnapping, murder and a disturbed former kamikaze pilot. A U.S. secret agent, posing as a reporter, is dispatched to Tokyo to put a stop to these nefarious activities.

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Film about Ghost-cat.

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A 1941 visual anthology made as part of a project to celebrate the passing of the Japanese government's controversial Film Law in 1939. This anthology included early films that existed at the time but are now lost, and a series of famous examples of the benshi voiceover technique. It was supervised by Yasunosuke Gonda, the leading researcher of public entertainment at the time. Excerpts from: 1. Nio no ukisu (1900, photo.: Joji Tsuchiya) starring Ganjiro Nakamura I 2. Hototogisu (Production year unknown) 3. Aiaigasa (Production year unknown) 4. Shoes (1916, dir.: Lois Weber, benshi: Raiyu Ikoma) 5. Gen'ei no onna (1920, dir.: Norimasa Kaeriyama) 6. Gubijinso (1921, dir.: Henry Kotani) 7. Das Cabinet des Dr. Caligari (1920, dir.: Robert Wiene, benshi: Musei Tokugawa) 8. Sendo kouta (1923, dir.: Yoshinobu Ikeda)

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Documentary about the Japanese-occupied city that, as described by one contemporary source " boasts international settlements in which the nationals of a number of countries enjoy the privileges of extraterritoriality". Filmed on location in December 1937 Film contrasts the horrors of war with the complex political issues involving the metropolis.

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In Tokyo, Osen is the servant girl of an unscrupulous antiques dealer, Kumazawa, who takes in the penniless Sokichi Hata. Kumazawa mistreats Sokichi and Osen, while swindling some Buddhist monks out of their temple treasures. When Kumazawa is arrested, Osen agrees to help Sokichi finance his dream of going to medical school. They live in a humble room, and eventually the only way Osen can find enough money for them is to prostitute herself during the day, without Sokichi knowing. (Will Gilbert)

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An early Japanese sound film, notable for being the only Japanese film ever to use the Western Electric Sound System. Contrary to most Western sources that give sole directing credit to Eizo Tanaka, it was actually co-directed by six different directors, Tanaka, Kazue Kimura, Kazuo Takimura, Ryoji Mikami and Hidekuni Ouchi.

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