Musical about the “Blue Star,” a struggling jazz band led by pianist Takarada and trumpet player Takashima and their love interests. Done very much in the style of a Fox musical of the same 1940s, complete with an elaborate “History of Jazz” finale.

Arashi o Yobu Gakudan.1960.1080i.HDTV.MPEG2.AAC-JPTV.club.ts

General
Container:  	MPEG-TS
Runtime: 	1 h 50 min
Size: 	8.91 GiB
Video
Codec: 	MPEG-2
Resolution: 	1440x1080 ~> 1920x1080
Aspect ratio:  	16:9
Frame rate: 	29.970 fps
Bit rate: 	Variable
BPP: 	
Audio
#1:  	2.0ch AAC LC

https://nitro.download/view/F95D73BBA6AEB7E/Arashi_o_Yobu_Gakudan.1960.1080i.HDTV.MPEG2.AAC-JPTV.club.ts

Language(s):Japanese
Subtitles:Japanese

The post Umetsugu Inoue – Arashi o yobu gakudan AKA The Poem of the Blue Star (1960) first appeared on Cinema of the World.

A woman remember’s her own marriage when dealing with the love life of her son.

A.Woman's.Life.1963.DVDRip.DD2.0.x264-PTer .mkv

General
Container:	Matroska
Runtime:	2h 6mn
Size:	2.12 GiB
DXVA:	Compatible
Minimum settings:	Met
Video
Codec:	x264
Resolution:	720x368 ~> 864x368
Aspect ratio:	2.35:1
Frame rate:	23.976 fps
Bit rate:	2 211 kb/s
Audio
Japanese 2.0ch AC-3 @ 192 kb/s

https://nitro.download/view/20CF1E0AE72C690/A.Woman’s.Life.1963.DVDRip.DD2.0.x264-PTer_.mkv

Language(s):Japanese
Subtitles:English, Chinese

The post Mikio Naruse – Onna no rekishi AKA A Woman’s Life (1963) first appeared on Cinema of the World.

The story tells of a group of samurai who were left leaderless (becoming ronin) after their daimyo (feudal lord) was forced to commit seppuku (ritual suicide) for assaulting a court official named Kira Yoshinaka, whose title was Kōzuke no suke. The ronin avenged their master’s honor after patiently waiting and planning for over a year to kill Kira. In turn, the ronin were themselves forced to commit seppuku for committing the crime of murder.

3.51GB | 3h 27m | 1024×436 | mkv

https://nitro.download/view/454B2307A45B7CA/Chushingura_(1962).mkv

Language(s):Japanese
Subtitles:English

The post Hiroshi Inagaki – Chûshingura AKA The 47 Ronin (1962) first appeared on Cinema of the World.

A dramatized biography of Fumiko Hayashi, the noted Japanese writer. Born to improverished parents Fumiko does all she can to earn money enough to support herself. Along the way she gets invovled with various men, good and bad.

1.46GB | 2h 03m | 810×360 | mkv

https://nitro.download/view/C90F8B15E98D70A/Her.Lonely.Lane.1962.NTSC.DVD.x264-Tree.mkv

Language(s):Japanese
Subtitles:English

The post Mikio Naruse – Hourou-ki aka Her Lonely Lane (1962) first appeared on Cinema of the World.

A woman and her daughter are in love with the same man, a chef at the restaurant that the mother manages. He is slightly crippled from frostbite in his years in Siberian labor camps and considers himself “already dead.”

Quote:
An anomalous project that at first seems of interest primarily as an auteurist guessing game, but that emerges against the odds as one of the most affecting dramas of Naruse’s late period. Co-directed by Naruse and Yuzo Kawashima, the film begins with swirling color TohoScope credits and a bluesy orchestral arrangement in the style of American melodrama, and is keyed to the 60s luxury zeitgeist of soft jazz, brightly colored cars, and product placement. The multithreaded story, centered on a boisterous geisha establishment and a restaurant where the geisha ply much of their trade, gradually homes in on an uncomfortable love triangle: the manager of the restaurant (Isuzu Yamada) and her daughter Miyako (Yoko Tsukasa) are in love with the same man, the brooding restaurant cook Ita (Tatsuya Mihashi).

The credits give no indication of how Naruse and Kawashima collaborated. But the goal clearly wasn’t to make a seamless film: the styles of the two very different directors collide instead of blend, and the effect isn’t as disruptive as one would expect. Audie Bock writes, “Naruse filmed all of the older generation scenes and the Japanese restaurant scenes, while Kawashima did the younger generation and the geisha house scenes.” This breakdown looks right to me in its broad outline, and with a little acclimation I felt able to spot most of the directorial transitions. My sense is that Naruse did most or all of the scenes with the participants in the central love triangle, and also the significant subplot with Nozaki (Kazuo Kitamura), the mentally unstable ex-husband of the geisha Masae (Mitsuko Kusabue). It looks as if the directors divided their work along the aforementioned lines even within scenes and locations. For instance, a traveling shot of geishas walking down a hospital corridor to visit Ita looks like Kawashima in its proximity to the actors and wide-angle distortion; but when the geishas enter Ita’s hospital room, Naruse seems to take over. Likewise, the nearly choreographed opening pool scene is dominated by Kawashima’s exaggerated comic style; but I’m guessing that Naruse did the poolside shots with the restaurant owner Sonoda (Takashi Shimura) and his cohort, and with Miyako and her friend Shinobu (Yumi Shirakawa), Sonoda’s daughter. This schema gives more than half the film to Naruse; and, as Jean Narboni observed, EVENING STREAM “gives the strange impression of becoming a Naruse film little by little.” The effect is obtained not only by the preponderance of Naruse scenes, but also because the desolate dramatic progression of the script by Toshiro Ide and Zenzo Matsuyama is characteristic of Naruse’s best-known work. One ultimately senses that Naruse owns the project and merely rented out parts of it.

The easiest way to tell when Naruse takes over the film is that everyone starts to seem a little discontent! I’m exaggerating a bit, but the effect of subdued inwardness is conspicuous. It depends not only on acting, but also on the way Naruse tends to neutralize active, happy behavior by containing it in a wide and static frame, sometimes including more restrained performances in the same composition. By contrast, Kawashima has an essentially exuberant directorial temperament. He enjoys bending space to accommodate the demonstrative performances he likes, using shorter lenses than Naruse, habitually crowding the foreground, and often reframing to accommodate the actors’ brio. And he is happy to give the audience direct pleasure in color, movement and rhythm, whereas Naruse generally sacrifices sensory impact for less direct pleasures. At first Kawashima’s direction seems broad and unnuanced compared with Naruse’s, but his style has its charms: his exaggeration has a droll, knowing edge, and the uncomfortable subplots of one geisha’s date rape and another’s repeated suicide attempts show that Kawashima has sufficient control over tone to absorb serious material without breaking his comic stride. Surprisingly, the division of directorial labor does not diminish the film’s cumulative emotional power. The concept of subcontracting out a film’s comic relief is certainly peculiar, and yet perhaps no more disruptive than the idea of having comic relief in the first place.

The eventual mother-daughter confrontation causes the love triangle to collapse rather than detonate, as Naruse undermines the appeal of the male love object (who began the film as a romantic figure) and embarks on an anticlimax of uncomfortable but inevitable reconciliation and compromise. (Yamada, in her last role for Naruse, gives a pleasingly gentle and vulnerable performance as the mother, in a role that could have been played for melodramatic threat.) In a skillful narrative ploy, the energy of the central story is transferred to the parallel plot thread with the unstable Nozaki, which culminates in what may be the most terrifying and accomplished action scene in any Naruse film. But the filmmakers top themselves with a somber existentialist ending – not exactly a surprise, but the culmination of a shadow narrative that is constructed in opposition to the movie convention of self-sacrificing motherhood. Despite its immersion in contemporary youth culture, EVENING STREAM concludes by looking back into the past, enacting the traditional, already anachronistic ceremony of the new geisha’s introduction to her neighborhood.

by Dan Sallitt

1.70GB | 1h 50m | 846×360 | mkv

https://nitro.download/view/0B74D6DDB3E3796/Evening.Stream.1960.DVDRIP.x264.AC3.KJNU.mkv

Language(s):Japanese
Subtitles:English

The post Yûzô Kawashima & Mikio Naruse – Yoru no nagare AKA Evening Stream (1960) first appeared on Cinema of the World.

Two employees of rival ad agencies vie for the same contract, and each other’s hearts, in this restrained office drama from director Hideo Suzuki. Stars Yoko Tsukasa and Akira Takarada.

4.98GB | 1h 34m | 1280×550 | mkv

https://nitroflare.com/view/E76681F4F85F5B2/Women_of_Design_(1962).mkv
https://nitroflare.com/view/0F43C80E055ABD7/Women_of_Design_(1962).srt
https://nitroflare.com/view/1DFD37BF044637C/Women_of_Design_(1962)__jp_.srt
or
https://tezfiles.com/file/2db2de41050ae/Women_of_Design_%281962%29.mp4
https://tezfiles.com/file/e75ee42f7bf96/Women_of_Design_%281962%29.srt
https://tezfiles.com/file/871a0c57f9df5/Women_of_Design_%281962%29_%5Bjp%5D.srt>

Language:Japanese
Subtitles:English,Japanese

The post Hideo Suzuki – Sono bashoni onna arite AKA Women of Design (1962) first appeared on Cinema of the World.

Synopsis:
A greedy developer has placed huge machines to suck dry a part of the ocean near Tokyo so he can put luxury condos there. After a storm, a giant egg washes up on the beach nearby and is immediately put on public display. The developer’s plans go awry when he disrupts Godzilla’s rest and the monster goes stomping through Tokyo again. It’s up to the elderly Mothra, and then to its two offspring, to save Tokyo from destruction.

2.12GB | 1 h 28 min | 1024×436 | mkv

https://nitro.download/view/0F81E8FA251C1BB/Godzilla.vs.Mothra.1964.576p.BluRay.x264-HANDJOB.mkv

Language(s):Japanese
Subtitles:English (Muxed)

The post Ishirô Honda – Mosura tai Gojira AKA Godzilla vs Mothra (1964) first appeared on Cinema of the World.