| Photos (see all 4 | slideshow) |
| Isao Numasaki | ... | Yuzo | |
| Chieko Nakakita | ... | Masako | |
| Atsushi Watanabe | ... | Yamamoto | |
| Zeko Nakamura | ... | Dessert Shop Owner | |
| Ichiro Namiki | ... | Street Photographer | |
| Toppa Utsumi | ... | Street Photographer | |
| Ichirô Sugai | ... | Yamiya, the black-marketeer | |
| Masao Shimizu | ... | Dance Hall Manager | |
| Tokuji Kobayashi | ... | Overweight apartment receptionist | |
| Shiro Mizutani | ... | Waif | |
| Aguri Hidaka | ... | Dancer | |
| Midori Ariyama | ... | Sono, Yamiya's mistress | |
| Katao Numazaki | ... | Bakery Owner | |
| Toshi Mori | ... | Apartment Superintendent | |
| rest of cast listed alphabetically: | |||
| Sachio Sakai | ... | Shady Ticket Man (uncredited) | |
Directed by | |||
| Akira Kurosawa | |||
Writing credits(in alphabetical order) | ||
| Akira Kurosawa | writer | |
| Keinosuke Uegusa | writer | |
Produced by | |||
| Sojiro Motoki | .... | producer | |
Original Music by | |||
| Tadashi Hattori | |||
Cinematography by | |||
| Asakazu Nakai | |||
Production Design by | |||
| Kazuo Kubo | |||
Second Unit Director or Assistant Director | |||
| Tsuneo Kobayashi | .... | chief assistant director | |
| Zenji Koizumi | .... | assistant director | |
Sound Department | |||
| Ichirô Minawa | .... | sound effects editor | |
| Shigeharu Yasue | .... | sound | |
Camera and Electrical Department | |||
| Kuichiro Kishida | .... | lighting technician | |
| Takao Saitô | .... | assistant camera | |
| Yoji Takagi | .... | still photographer | |
Editorial Department | |||
| Zenji Koizumi | .... | negative cutter | |
Other crew | |||
| Reiko Kawamura | .... | script supervisor | |
| Recent Posts (updated daily) | User |
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| Who Clapped? | boilerbrojoe |
| One wonderful movie! | tmaj48 |
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| Full cast and crew | Company credits | External reviews |
| IMDb Drama section | IMDb Japan section | Add this title to MyMovies |
This film provides an interesting counterpoint to other Kurosawa films. Its portrayal of post-war Japan recalls Stray Dog, but the poverty and sleaziness in this case are used as the background for a romance between two very attractive young people, who have a Sunday date, but only 35 yen to spend. Yet there is not the gloom of Lower Depths. Both have jobs and we see his minimally decent rental room. The title seems throughout the film to be rather ironic, since most of the situations they encounter, such as being cheated at a snack bar, are far from wonderful. However, Kurosawa puts a positive spin at the conclusion. I agree with another reviewer that the device of having the girl speak to the audience, seeking our sympathy for young couples without money, who wish to marry, is a very awkward device that distracts from our interest in the relationship. However, I disagree with another reviewer who describes the ending as corny: we've all heard of Capra-corny. This film does not come up to Capra's level, but it is reminiscent of his human interest. It seemed to me that the closing device of the girl's making a date for the next Sunday works very well. Every film needs closure, and this one does not deal in high drama at any point, so a highly dramatic climax would not be appropriate. The viewer who wants that should go to Ran or Kagemusha. In my view, the early Kurosawa films showed him how to develop human relationships: a gift that later would be present in the samurai films, and would make them much more than action epics.