The best Junzaburō Ban’s drama movies

By turns tragic and transcendent, Akira Kurosawa’s film follows the daily lives of a group of people barely scraping by in a slum on the outskirts of Tokyo. Yet as desperate as their circumstances are, each of them—the homeless father and son envisioning their dream house; the young woman abused by her uncle; the boy who imagines himself a trolley conductor—finds reasons to carry on. The unforgettable Dodes’ka-den was made at a tumultuous moment in Kurosawa’s life. And all of his hopes, fears, and artistic passion are on fervent display in this, his gloriously shot first color film.

The film depicts carnivalesque atmosphere summed up by the cry "Ee ja nai ka" ("Why not?") in Japan in 1867 and 1868 in the days leading to the Meiji Restoration. It examines the effects of the political and social upheaval of the time, and culminates in a revelrous march on the Kokyo, which turns into a massacre. Characteristically, Imamura focuses not on the leaders of the country, but on characters in the lower classes and on the fringes of society.

Three robbers escape with loot from a heist before one of them shoots the others. Their corpses wash up near the aftermath of a maritime calamity, provoking a policeman's interest.

In Osaka's slum, youths without futures engage in pilfering, assault and robbery, prostitution, and the buying and selling of identity cards and of blood. Alliances constantly shift. Tatsu and Takeshi, friends since boyhood, reluctantly join Shin's gang. Shin's an upstart and moves his gang often to avoid the local kingpin. Hanoko is a young woman with ambitions: first she's in the blood business with her father, then she joins forces with Shin. She soon breaks off that partnership, even though she's taken the sensitive Takeshi under her wing. Double crosses multiply. Those with the closest bonds become each others' murderers.

An absolutely astonishing art house ninkyo yakuza film. Wandering gambler runs into a young swindler woman working with old man. They are both arrested by detective. A year later gambler is staying with gangster boss when he comes across that woman and her partner again. Boss lusts for both her and his own daughter, while the boss's crazy yakuza brother loves his daughter, who, in turn, watches the player and wants to destroy the people standing in her way. And here lies one of the film's remarkable departures from the standard ninkyo efforts: it doesn't have a third party villain, nor a clear distinction between good and evil. It's bursting with romantic emotion and wrenched with gritty realism, shot with striking black and white compositions, and explodes into shocking carnage. It has lengthier, more detailed gambling scenes than any other yakuza film I've seen. And it has a heartbreakingly beautiful score. You could call it the Ashes of Time of ninkyo yakuza films. A masterpiece!

The film is dedicated to the souls of flight school graduates killed in World War II. Young boys dream about becoming pilots and apply to flight schools. However, the flight schools have extremely demanding, harsh training, and once they finally become pilots, they must become suicide bombers and give their lives for their homeland.

Set in the 1860s, the final years of the Tokugawa Shogunate, The Fireflies focuses on Tose (Awashima Chikage), the mistress of the Teradaya, a small inn in the Kyoto suburb of Fushimi. She does not have an easy life. Her husband, Isuke (Ban Junzaburo), is a wastrel who fancies himself a kabuki singer and who is obsessed with cleanliness. Her mother-in-law, Sada (Miyoshi Eiko) dislikes her because of her humble origins (her family are farmers) and because she fears that she will inherit the inn instead of Sugi, her daughter. Sada's hopes for Sugi, however, are dashed when she runs off with a con artist and leaves her child behind for Tose to take care of. When Sada becomes seriously ill, it is Tose who nurses her. On her deathbed, Sada asks her daughter-in-law's forgiveness. Meanwhile Isuke spends most of his time with a mistress he has taken, forcing Tose to manage the inn by herself

Young geisha Koshizu's wish of reuniting with the man, Yukichi, who helped her ten years ago comes true. When she learns of the trouble Yukichi's business is facing, she stands ready to come to his aid, and thus repay a debt that's long overdue.

Jiro, a smooth-talking, womanizing bartender, flees from a Yakuza boss to Yanagase.