And Yet We Live or Dokkoi Ikiteru is a Japanese film directed by Tadashi Imai in 1951. Funded by a popular subscription, the film Tadashi Imai stands a very realistic picture of the Japanese post-war, plagued with unemployment and the misery of the disinherited classes. The work enjoyed a strong impact and was classified, Japan, among the best productions of the year.
The setting of the movie is Tokyo , after the Second World War. Mori, a father, vainly looking for a daily job. Back home, he learns that his barracks will soon be demolished. His wife decides, meanwhile, to sell their meager belongings and go to the countryside with her sister, accompanied by her children. Reluctantly, Mori drove them to the station and finds refuge in an asylum. It nevertheless promises a fixed position in a modest company, but he is denied any advance for sustenance. His neighbors neighborhood, supportive, collect the money. But, wanting to celebrate the event during a drunken night, Mori is stolen his money. Later, he promised the job is now denied. One of his friends encouraged him to steal pipes in a shipyard. Spotted, Mori is chased through the streets of Tokyo. However, if he is summoned to the police station, it is because his wife was traveling on the train without a ticket. Helpless, spouses and children wander through the city. Mori suggests to his wife the idea of a collective suicide. Previously, Mori, with money from theft, wants to offer her children a last day of merriment at the carnival. Now at that time, her boy is caught in a marsh. Father saves son and thus renounce the thought of suicide.
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