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シネマ365日

2011年12月27日

特集「追悼 高峰秀子」3 喜びも悲しみも幾年月(1957年)【ヒューマン映画】 Times of Joy and Sorrow (The Lighthouse) (1957) (in memory of Hideko Takamine)

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監督 木下恵介/Director: Keisuke Kinoshita
出演 高峰秀子、佐田啓二、田村高廣/Starring: Hideko Takamine‚ Keiji Sada‚ Takahiro Tamura

アナログの真価

 こういう状況を想像してほしい。一人の女性が自分の年代記を語る。正直で冷静で自己陶酔に陥らない。新婚から現在まで25年のできごとだ。子供が二人、一人は事故死、一人娘は結婚した。夫の仕事は灯台守。日本中の僻地に赴任した。子供たちは勤務地にともなって転校ばかり。夫の単身赴任もあったし、話し相手もいない離島の灯台では夫婦ケンカにもなった
▼政治の陰謀も裏切りもなく、ヒーローのアクションもなく、サスペンスもなく銃撃戦もなく、夫婦愛、家族愛、隣人愛、友愛、職場愛、そうだ恋愛もあった…それらの叙事が平板に続く。なるほど、なるほど、と聞いておらざるをえない。というのも内容は平凡なのに彼女の声やくちごもる様子や、間のとり方が絶妙で、退屈なはずなのについ続きを聞いていようと思う。本作はそんな映画だった
▼高峰は「主人公が優等生すぎて、演じていて面白くなかった」と自作を評していたが、これは高峰独特の偽悪的な表現だろう。この映画を最後までみてしまうのは、確かにエビ煎やピーナツを、袋がカラッポになるまでポリポリかじるのに似ているが、それは駄作ということでもないのだ
▼今からみれば嵐のときの灯台修理なんか、撮影技術の単調さも目立つし、破綻のない人間関係も悪人のない映画の限界を思わせる、しかしいかに外面は平凡にみえようと、当事者にとって内的ドラマでないものはない、その連続が人生の現実なのだ。この映画が、そこを踏み外していないことは見事なほどだ。これでもかと描き込んでいる
▼佐田啓二は仕事熱心で実直な灯台守を好演。もともと植物的な感じが強かったが、高峰と並ぶとそれがなお引き立つ。一人娘が結婚し、夫とともに赴任地のカイロに旅立つ。船が御前崎灯台の前を通過するとき、頃を見計らって高峰と佐田は霧笛を鳴らす。夜の海に煌々と灯台の光が巡り、鳴り響く霧笛に、娘たちの乗船した船も応える。灯台では夫婦が身を乗り出して船を見送る。いくらこの映画を、やれ退屈だ、平板だと言ってみたところで、このシーンに文句をつける観客はいるまい
▼あまりに日本的・叙情的な本作は外国では理解され難かった。機械化された灯台に、そもそも灯台守はいなかったので、なんの話かわからなかったらしい。本作の真価はどこまでもアナログにあったのだ。

The real value of “analogue”

I want you to imagine this situation: a woman is telling the chronicles of her life. She is honest and calm and doesn’t fall into narcissism. She talks of the happenings over the 25 years since she married until the present. She has two children: one died in an accident and her daughter married. Her husband works as a lighthouse keeper. He is appointed to the backcountry of Japan. The children constantly change school according to their father’s work place. He also worked away from the family and with nobody to talk to at the lighthouse on the remote islands‚ he and his wife often argued.

There is no political conspiracy or betrayal‚ no action from a hero and no suspense or gun fights. There is love between husband and wife and love of family‚ love of neighbours‚ love of friends‚ love of work; that’s right‚ there is also “love”- this kind of narration continues monotonously. You have no choice but to listen to it and nod your head. Despite this content being commonplace‚ the way her voice hesitates and her superb ways of pausing; although it should be boring‚ we wait to listen for her to continue. This film was that kind of film.

Takamine said of herself‚ “The heroine was too smart‚ and it was boring to play her”. These words were probably Takamine’s typical pretense of evil. To watch this movie through to the end is certainly similar to nibbling away at prawn-flavoured crackers or peanuts until the packet is empty. That doesn’t make it a bad film.

When I look at it now‚ in regard to filming someone repairing a lighthouse in a storm‚ the monotony of film techniques would stand out‚ and it makes me think of the limits of a film without failures‚ interpersonal relationships and villains. However you try to see the outside as commonplace‚ to those concerned there is no such thing as a non-internal drama. That continuation is the reality of life. This film is brilliant by not stepping away from that. It is illustrated with possibilities.

Keiji Sada performs well as a lighthouse keeper who is honest and passionate about his work. Originally there is a plant-like feeling about him but when he is beside Takamine he looks much better. Their daughter marries and she departs with her husband for his work in Cairo. When the ship passes before the lighthouse in Omaezaki‚ timing the moment‚ Takamine and Sada sound the fog horn. The rotating light of the lighthouse brightens the night time sea and the resonating fog horn receives an answer from the ship their daughter is aboard. They hang out from the lighthouse and see off the ship. No matter how boring or monotonous this movie is said to be‚ no one would complain about this scene.

This very Japanese and lyrical film was not well understood overseas. Since an automated lighthouse didn’t require a a lighthouse keeper‚ it was said that they couldn’t understand what was going on. The real value of this film was in everything “analogue”.

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