Let's Go, Grandma! plays like an exuberant, goofy update to Yasujiro Ozu's Tokyo Story. Kinuyo Tanaka plays the titular Grandma, who, after selling her Hokkaido property, is apparently flush with cash but newly homeless. Her grown children take turns hosting her, making extravagant performances of filial devotion with an eye to potential profit. Making use of a catalog of wacky visual effects, bracketed by gratuitous ham-fisted fight scenes, and costarring pop singer Hideki Saijo, the film is balanced by Tanaka's nuanced performance, which delivers a denunciation of hypocrisy and greed.

Executive management of a major Tokyo construction company are getting bumped off one after another. It seems obvious that it is a former partner of the company with a long-standing grudge who is responsible, but he died in the first ten minutes of the movie. Or did he? This may aptly be described as a giallo-noir for the unrelenting string of murders by a mystery man and the black-and-white gritty urban setting.

After the war, Kijima (Bunta Sugawara) returns to Tokyo where he meets Ôba (Noboru Andô), an Ex-Kamikaze pilot, and the two ruffians gather hooligans to join their group. In Ginza, the Togawa gang have taken over Sakurada's territory. After several fights Kijima and Ôba gain control of the territory by chasing out the notorious Togawa Group in the name of Sakurada. But Kijima is arrested for assaulting an American soldier. A few years pass. Kijima has served his prison term and the sears of war have been erased from Ginza. Ôba is now president of a company specializing in collection of bad debts, cheque frauds and everything that means money. People call their organization the “Private Police,” and Kijima begins to work for Ôba. Now the Takegami gang waits a chance to seize the Ginza territory.