Reikō Tani

Reikō Tani

122 (1902-11-15)
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Most Known for...

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A Story of Floating Weeds 1934 (7.123)

An aging actor returns to a small town with his troupe and reunites with his former lover and illegitimate son, a scenario that enrages his current mistress and results in heartbreak for all.
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There Was a Father 1942 (6.954)

Shuhei Horikawa, a poor schoolteacher, struggles to raise his son Ryohei by himself, despite neither money nor prospects.
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Tokyo Chorus 1931 (6.733)

In Depression-era Tokyo, a young man struggles to provide for his family after he is fired from his job.
Reiko Tanigawa

Reiko Tanigawa

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Most Known for...

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The Warped Ones 1960 (6.9)

A juvenile delinquent gets out of the pen and immediately embarks on a rampage of untethered anger, most of it directed at the girlfriend of the journalist who helped send him up.
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Flora on the Sand 1964 (6.5)

One evening, at the Marine Tower observatory, cosmetics salesman Ichiro Iki is drawn into conversation with an unfamiliar young lady Akiko. She invites Ichiro back to a hotel where they make love but part without even exchanging names. A week later, they have a second chance encounter at the observatory. This time, Ichiro is the one who pursues her. Back at the hotel, Akiko begs Ichiro to give her sister – Kyoko, a bar hostess – absolute hell. Akiko resents her sister for lecturing on chastity, while wantonly indulging in promiscuous activity. Ichiro takes an interest in Kyoko and sets out towards her bar…
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Hungry Soul, Part II 1956 (6.4)

A continuation of Hungry Soul, from the same year. Reiko, who tolerates abuse in her marriage to a man 23 years her senior, is friends with Mayumi, a beautiful widow. Reiko meets her husband’s business rival, a young, capable businessman, and falls for him. Meanwhile, Mayumi enters into a relationship with Shimotsuma, a friend of her late husband.
Reiko Tanikawa

Reiko Tanikawa

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Most Known for...

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Only on Mondays 1964 (6.2)

Yuka is a “good-time girl” from Yokohama who is persuaded by her papa to sleep with a foreign business executive so that he can close an important deal. Nakahira presents a shrewdly observed portrait of a modern, sexually assertive woman—an unsettling character for a changing but still patriarchal society.