Fumiko Arita

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#13 in the Ekimae series of films. Set at Todai University, Professor Sakai (played by Frankie Sakai) mentors a group of university hopefuls. Cut to 25 years later, the students have each settled into their careers and cross paths with Professor Sakai's son, a P.E. teacher (also played by Sakai).

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A young girl knows that she is going to die and in this she is supported by the devotion of the boy who loves her. They originally met at the hospital. There it transpired that the only way to save her life was to sacrifice an eye and part of her face. The operation seems a success. Later, however, her other eye becomes affected. She feels she must let the boy go, and yet she depends so much upon his devotion.

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Kunio Shimizu, a sailor of Tohto University, helped a girl that was chased by someone on her way home from practice.The girl went away without saying anything, leaving her wallet with Kunio. A few days later, she visited Kunio. She was working at a toy factory called Tomoko Nishizawa. Kunio naturally became attracted to Tomoko, but for some reason Tomoko refused to talk about her past. One day, the two went to the bowling alley and were approached by Tempira...

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Koji Himuro is the wandering gambler. His brother and his girlfriend were both murdered because he was determined to expose a gambling cheat. As a result, he vows to never gamble again, but in the end, his rage against cheats spurs him to action once again, with deadly consequences.

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Hanayome wa Jūgo-sai, directed by Mio Ezaki and distributed by Nikkatsu, stars Masako Izumi and Ken Yamauchi. The high-key pink background and casual photographic portrait embody Nikkatsu’s 1960s youth-film aesthetic. Clean, hopeful, and pop-oriented. The large white title, handwritten for a softer impression, injects playful energy that contrasts with the strict vertical text blocks. As Japan’s youth culture blossomed after the 1964 Tokyo Olympics, posters like this captured the spirit of romance and rebellion marketed to teenage audiences. The vivid color palette and carefree composition signal a stylistic shift from postwar black-and-white melodrama to the vibrant optimism of modern Technicolor cinema.

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Two friends, both members of a Japanese cargo boat, return to Japan after a three-month voyage and have just 24 hours shore leave. In those hectic hours, they vie for the affections of a hotel owner's daughter but wind up with separate girl friends and attempt to bring together the parents of a baby who have separated.

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This is a factory area in downtown Tokyo, and Hikaru, nicknamed Pika-chan, is a nurse at the Mihara Clinic, a friend of the poor.

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Jiro, a young yakuza, and Mami, a diplomat’s daughter, are two young lovers from different worlds. Having met by accident, they soon discover a new life together. But their love is ill-fated. Mami's family will not accept her choice, while leading an honest life seems like an unattainable goal for Jiro. Can there be anything else but a tragic ending?

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1962 Japanese movie

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