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02 Main Catalogue Front SHOCHIKU CINEMA: 100TH ANNIVERSARY 松竹映画 100 周年 1986 | Japanese | 35mm | Colour | 126min 1999 | Japanese | 35mm | Colour | 100min Director Shinoda Masahiro Director Oshima Nagisa Producer Iwashita Kiyoshi, Motomochi Masayuki, Producer Oshima Eiko, Nakagawa Shigehiro, Wakita Masatake Shimizu Kazuo Scriptwriter Tomioka Taeko Scriptwriter Oshima Nagisa Cinematographer Miyagawa Kazuo Cinematographer Kurita Toyomichi Editor Yamaji Sachiko Editor Ohshima Tomoyo Production designer Awazu Kiyoshi Production Designer Nishioka Yoshinobu Music Takemitsu Toru Music Sakamoto Ryuichi Sound Yoshida Shotaro Sound Ando Kunio Cast Go Hiromi, Iwashita Shima, Hino Shohei Cast Kitano Takeshi, Matsuda Ryuhei, Production Hyogensha, Shochiku Takeda Shinji, Asano Tadanobu World Sales Shochiku Co., Ltd. Production Oshima Productions, Shochiku Co., Ltd. World Sales Tamasa Distribution ©1999 Shochiku Co., Ltd./ Kadokawa Shoten Publishing Co., Ltd./ BS Asahi/ IMAGICA Inc./ Eisei Gekijo Co., Ltd. Gohatto 御法度 Why did you choose to adapt the work of Shiba Ryotaro on the [導演訪問] Shinsengumi? 「御法度」真有其事？故事裏的人物都存在的嗎？ Because it’s a story that everyone is familiar with in Japan. Shiba 人物都是真實的，「御法度」也是，那是「禁」或「禁 Ryotaro is a very popular writer, but maybe not for this particular 忌」的意思，我想藉此表現新選組的特性，以及幕府武 genre of novels. I wanted to surprise the Japanese public by 士的終結。武士對決，都有規有矩，他們想藉着刀的力 choosing a work that’s a bit different. It’s not only the history of the 量，改變歷史軌跡。但那種武力在當時（1865）已經 militia, but also the fall of the shogun Tokugawa and the restoration 過時，要讓路給西方的軍火新科技。一直以來，刀是武 of the Emperor (Meiji). When I was a child, I was fascinated by this 士力量的象徵，不過事實上，刀是生與死的標記。 period and by the Shinsengumi, a group of samurais who were opposed to the restoration of the Meiji. 同性戀的主題，在司馬遼太郎的原著也有的嗎？ You introduced the theme of homosexuality that doesn’t exist in 那是幕府武士的特徵，但不管怎樣，任何男人組織， other films within this genre. Is it present within the novel? 常有同性戀，如歌舞伎。以前，我們不敢提起這種或 明或暗的同性戀，大家會自動封口。我認為，若不呈 It’s specific to this clan. But anyhow, in a group of men, there always 現同性戀根深柢固的一面，無法理解武士世界。 exists an element of homosexuality. It’s the same thing in another 你的導演手法頗古典。 kabuki classic (and the film) Chushingura (The 47 Ronin). Before, 是的，這是一部歷史片，本身已夠古典。我描繪美的同 no one dared to suggest this homosexuality, whether latent or 時，也突出新選組武士的「殺人氣味」。但加納的美， real. It was self-censorship. In my opinion, we cannot understand 卻跟色慾及死亡相連，會騙人的。 the world of samurais without showing this aspect of fundamental homosexuality. 你將年輕偶像，跟老一輩的演員放在一起，為什麼？ Interview with Oshima Nagisa by Max Tessier 我用年輕演員，也有非職業的，如崔洋一，他本是我的 Positif, May 2000 助手。職業演員很難找到武士的面孔，他們必須表現 「殺人氣味」，崔洋一和北野武就可以。我向來不喜歡 演員太職業，年輕人就有新鮮感。 OSHIMA Nagisa (1932-2013) was born in Kyoto, Japan. After graduating in 1954, SELECTED FILMOGRAPHY 主要作品 he entered Shochiku Studio as an assistant director, and made his feature debut 1960 Cruel Story of Youth 青春殘酷物語 Street of Love and Hope in 1959. He later formed his own production company 1960 Night and Fog in Japan 日本的夜與霧 Sozosha and worked as an independent filmmaker. He is regarded as one of the 1968 Death by Hanging 絞死刑 pioneers of the Japanese New Wave. 1971 The Ceremony 儀式 大島渚 (1932-2013) 出生於日本京都。1954 年於京都大學法學部畢業，之後到 1976 In the Realm of the Senses 感官世界 松竹當助導，1959 年執導長片首作《愛與希望的街》。其後成立獨立製片公司 1983 Merry Christmas, Mr. Lawrence 戰場上的快樂聖誕 「創造社」，作品以前衛新銳見稱，被譽為日本新浪潮旗手之一，蜚聲海外。 1999 Gohatto 御法度 199.
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