This work was made three years before the Tokyo Olympics in 1961. Because of this title in Shin Toho's production, we rented B-class (or C-class) works that are only worth seeing the sight around Ginza, but when you look at them, surprisingly semi-A-class works. I felt like I had gained a little.
Teruo Ishii is the director who shot the Abashiri Outer Series in Toei. "I continued to run in the opposite direction to filmmakers with high degree of perfection, and rather built an unexplored position as a reverse master who was completely unrelated to film awards." This work is too convenient to develop the story, but the back music is good and it is a stylish work.
The reason why real scenery such as Ginza and Shimbashi appears quite a lot is that Shin Toho is lacking funds and is guerrilla-like (hidden shooting?) It seems to be the "result" of having to do street photography, but thanks to that, the sight of Tokyo before the Olympic Games major remodeling is abundantly captured in the shaded monochrome screen.
Beginning with a shot showing the clock tower of the Hattori Clock Store, the time on the way is also represented by this clock tower. In addition, a bird's-eye view of Miyoshi Bridge, a scene where two people ride a boat on the Tsukiji River. The boat platform is like the Mannenbashi Bridge, where you can see East drama, Shochiku Kaikan, and Shimbashi Enbujo. Near the last, you can see the whole line seat of a cinema shaped like an old Western castle in river’s edge on the Shiodome River.
Looking at the sign of the bar on the screen, it says "40 yen straight, 50 yen highball" etc.
Unlike the image of "the top star on the sexy route of Shin Toho", Yoko Mihara is quite charming and has a good feeling (however, regardless of the title, there is no sexy scene in this work). Arakan described it as "a child who is kind and kind to the opposite of his role," and he agrees. Also, Junko Ikeuchi when I was young is beautiful.
