Of all the directors who made names for themselves during the Japanese studio golden age of the 1930s, Hiroshi Shimizu was one of the most respected—and, today, one of the least well-known. A curious, compassionate storyteller who was fascinated by characters on the outskirts of society, Shimizu used his trademark graceful traveling shot to peek around the corners of contemporary Japan. In these four lyrical, beautifully filmed tales, concerning geisha, bus drivers, and masseurs, Shimizu journeys far and wide to find the makings of a modern nation. Japanese Girls At The Harbor (1933) Shimizu’s exquisite silent drama tells of the humiliating social downfall experienced by Sunako after jealousy drives her to commit a terrible crime. With its lushly photographed landscapes and innovative visual storytelling, this film shows a director at the peak of his powers and experimentation. The Masseurs and a Woman (1938) A pair of blind masseurs, an enigmatic city woman, a lonely man and his ill-behaved nephew — The Masseurs and a Woman is made up of crisscrossing miniature studies of love and family at a remote resort in the mountains. Mr. Thank You (1936) Shimizu’s endearing road movie follows the long and winding route of a sweet-natured bus driver — nicknamed Mr. Thank You for his constant exclamation to pedestrians who kindly step out of his path — traveling from rural Izu to Tokyo. Ornamental Hairpin (1941) wo bruised souls enact a tender, hesitant romance in Shimizu’s alternately poignant and playful wartime love story. A soldier is waylaid at a rural spa when he accidentally cuts his foot on the titular object. Soon enough he tracks down its lovely owner and finds himself smitten.