Plot
Wataru Hirayama (Shin Saburi) is a wealthy Tokyo businessman who acts as a go-between for couples seeking marriages. When an old schoolmate Mikami (Chishu Ryu) approaches him for help concerning his daughter Fumiko (Yoshiko Kuga), who has run off owing to a conflict with her father, he agrees. Finding her in a bar where she now works, he listens to her side of the story. Fumiko complains that her father is stubborn, insisting on arranging her marriage, whereas she has now fallen in love with a musician and is adamant to lead life her own way.
One day during work, a young man named Taniguchi (Keiji Sada) approaches Hirayama to ask for the hand of his elder daughter, Setsuko (Ineko Arima). Hirayama is extremely unhappy that his daughter has made wedding plans on her own. He confronts her at home, during which he blows his top, and rules that she must remain locked at home until she sees the folly of her ways. Hirayama tries to find out more about Taniguchi from his subordinate.
Owing to the standoff, his daughter's friend Yukiko (Fujiko Yamamoto) tries a ruse in which she asks Hirayama opinion concerning a similar situation – her mother forcing her to marry someone she didn't like. When Hirayama advises her to ignore her mother, Yukiko reveals it is all a setup and states that Hirayama has just given his consent to Setsuko's marriage.
Hirayama's wife Kiyoko (Kinuyo Tanaka) tries unsuccessfully to make him change his mind. She accuses her husband of being "inconsistent". Even his younger daughter Hisako (Miyuki Kuwano) is on the side of her sister, finding her father too old-fashioned. Finally, after the couple's insistence on getting married, Hirayama decides to give in by attending his daughter's wedding.
After the wedding, Mikami reveals that he, like Hirayama, has agreed to let his daughter select her own marriage partner. After going for a short business trip outside Tokyo, Hirayama decides to visit the newly-weds at Hiroshima by train, where Taniguchi is stationed by his company.
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“James’s great gift, of course, was his ability to tell a plot in shimmering detail with such delicacy of treatment and such fine aloofness—that is, reluctance to engage in any direct grappling with what, in the play or story, had actually “taken place”Mthat his listeners often did not, in the end, know what had, to put it in another way, “gone on.””
—James Thurber (1894–1961)
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