女を楽しくするニュースサイト「ウーマンライフ WEB 版」

  • facebook
  • twitter
  • line
  • rss

シネマ365日

2011年12月28日

特集「追悼 高峰秀子」4 女が階段を上がるとき(1960年)【ヒューマン映画】 When a Woman Ascends the Stairs (1960) (in memory of Hideko Takamine)

Pocket
LINEで送る

監督 成瀬巳喜男/Director: Mikio Naruse
出演 高峰秀子、森雅之、仲代達矢/Starring: Hideko Takamine‚ Masayuki Mori‚ Nakadai Tatsuya

女の命は哀しく燃える、らしい

 高峰秀子は銀座のバーの「雇われママ」だ。高峰目当てに通ってくる客のうち「君はこういうところにいるより、勤め人のお嫁さんが似合うのではと、ぼくはかねがね思っていた」という加東大介に、ホロリと参ってしまうのだから、よっぽどママ稼業が性に合っていないのである。ところが独身だったはずの加東大介にはちゃんと妻がいて、結婚詐欺まがいを繰り返していた
▼それとマアなんというか、高峰の肩につぎつぎのしかかる扶養家族。兄が刑務所入りを免れるための弁護士の費用、兄の息子の足の手術、ママ稼業を張るための必要経費である衣装代、店の格を維持する優良顧客のつなぎとめ、雇い主からは成績が落ちたと嫌味をいわれ、子飼いのホステス団令子は高峰の客をちゃっかり奪って独立した。病気になっても母親は金がないと愚痴ばかりこぼし、おちおち寝てもいられない
▼銀行の支店長・森雅之も高峰と一夜をともにするのだが、さっさと大阪へ転勤する。深入りせずにすみ、しかもやることはやったという男の身勝手がありあり。いくら高峰が毅然としていても、庶民感情としては「踏んだり蹴ったり、やなあ」というのが素朴な実感なのだ。いくら銀座のママとはいえ、こんないいとこなし、のヒロインに観客は魅力を感じるだろうか。同業者の淡路恵子は高峰の店から独立し、今や飛ぶ鳥落とす勢いだが内情は火の車。オーナーから借金の矢の催促をかわそうと狂言自殺を目論むが本当に死んでしまった
▼どこまで暗いのだろう。情けない家族ばかりでも助けてやれということか、男の裏切りも詐欺もだまされるほうが悪いということか、同業者の隆盛は見た目ばかりでは分らんということか、それらはみな人生の実相だとしても、オンパレードになるとめまいがする。仲代達矢は高峰についていくマネージャーなのだけど、こんな業界の裏も表も知り抜いた、しかも高峰を心から愛している男がいるなら成功しそうなものだけど、成瀬監督はちっとも彼をひきたててやらないのだ
▼ラスト、ヒロインはそれでも明日を夢見て生きていく、とつぶやいて自分の職場・バーの階段をあがる。なにこれ。女は最後まで耐えねばならぬということか。キャッチコピーは「愛に裏切られ、傷つきながら、幸せを求めて、女の命は哀しく燃える」べつに哀しく燃えなくてもいいでしょうが。ここにいるのは自己犠牲に甘んじどこまでも耐える女、男にとって都合のいい女でしかない。でも次回の「放浪記」は、ちょっと違う女ですよ。お楽しみに。

A woman’s life sadly burns (so I hear)

Keiko Yashiro (Takamine Hideko) is a hostess at a Ginza bar. One of her patrons Matsukichi Sekine (Daisuke Katou) with his sights set on on her suggests “Rather than being somewhere like this‚ I’ve been thinking that you would be more fitting as the wife of an office worker”. She responds that because she is sentimental the hostessing trade wouldn’t be right for her. However‚ the supposedly single Daisuke Katou actually has a wife and is a serial marriage fraudster.

Takamine’s dependent family weigh on her shoulders one after the other. The costs of a lawyer so her brother can avoid jail‚ her nephew’s leg operation‚ the running costs of the business and costumes‚ securing good customers that maintain the status of her establishment‚ insults from her manager that her performance has dropped‚ and her hostess protege Junko Ichihashi (Reiko Dan) who steals her customers and sets up her own business. She complains that even if she gets sick her mother has no money and so it is impossible to relax and sleep.

She spends the night with a bank branch manager Nobuhiko Fujisaki (Masayuki Mori) but he quickly leaves to work in Osaka. There is a lot of male selfishness of not getting deeply involved and doing what they like. No matter how much resolve Takamine has‚ the audience’s feelings are “You ‘re being kicked and walked all over”; this is a simple and real feeling they have. Although she is a Ginza bar owner‚ can the audience feel any attraction of a heroine with nothing good going for her? Yuri (Keiko Awaji)‚ who is in the same industry‚ leaves Takamine’s club to start her own. She leaves with tremendous energy but her true state of affairs are in dire straits. She schemes to fake her suicide to avoid her creditors but she actually dies.

How dark is this going to be? Is it her pathetic family demanding her help? Is it worse to be betrayed or swindled by men? Is it not knowing the prosperity of people in the same industry by their appearance? Even if all of these are truths of life‚ when they are all thrown together I get dizzy. Kenichi Komatsu (Tatsuya Nakadai) is Takamine’s manager. He knows the ins and outs of the industry‚ moreover‚ if there was a man who loved Takamine from the bottom of his heart she would be successful but director Naruse doesn’t give him him any favour in the slightest.

Finally‚ as the heroine ascends the stairs of her establishment she says that in spite of things she will continue living her dream towards tomorrow. What? She has to put up with things to the very end? The catchphrase of this film was “Betrayed by love‚ hurt but seeking happiness; a woman’s life sadly burns”. Her life doesn’t have to “sadly burn”. What is here is a women resigned to self-sacrifice who will always put up with things. To men‚ this is nothing but a convenient woman. Next time is A Wanderer’s Notebook. She plays a different woman. Look forward to it.

Pocket
LINEで送る