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SHOCHIKU CINEMA: 100TH ANNIVERSARY 松竹映画 100 周年 1986 | Japanese | 35mm | Colour | 126min Director Shinoda Masahiro Producer Iwashita Kiyoshi, Motomochi Masayuki, Wakita Masatake Scriptwriter Tomioka Taeko Cinematographer Miyagawa Kazuo Editor Yamaji Sachiko Production designer Awazu Kiyoshi Music Takemitsu Toru Sound Yoshida Shotaro Cast Go Hiromi, Iwashita Shima, Hino Shohei Production Hyogensha, Shochiku World Sales Shochiku Co., Ltd. ©1986 Hyogensha Inc./ Shochiku Co., Ltd. ©1999 Shochiku Co., Ltd./ Kadokawa Shoten Publishing Co., Ltd./ BS Asahi/ IMAGICA Inc./ Eisei Gekijo Co., Ltd. Gonza the Spearman Yari no gonza 槍聖權三 “The medieval world seen through Chikamatsu’s drama is a world [影評摘錄] which cannot be dealt with using modern standards of logicality. I 「近松門左衛門淨瑠璃劇裏的中古世界，是一個不能以 have become interested in such a world.” 現代邏輯丈量的世界。對此世界，我愈來愈感興趣。」 Masahiro Shinoda’s own words testify to his continuing obsession 篠田正浩的話，可見他對近松門左衛門筆下封建社會一 with the feudal world of Monzaemon Chikamatsu. As mentioned 直深深着迷。篠田對近松門的神迷，可回溯至《心中天 earlier, the first evidence of Shinoda’s fascination with Chikamatsu 網島》。其風格實驗從歌舞伎及文樂取經，探索近松門 dates back to 1969 when he made Double Suicide. Experimenting 身處封建社會的庶民生活中，「義理」與「人情」間的 with stylistics borrowed from Kabuki and Bunraku both, he explored 典型矛盾。 the classical conflict between giri (social obligation) and ninjo 有別於低成本黑白片《心中天網島》，《槍聖權三》極 (personal inclination) in the lives of commoners in the feudal society 盡華麗。武士大宅裝潢細緻考究。在嚴謹場面調度下， in which Chikamastsu himself lived… 人物一舉一動呈現生活（與死亡）的每個方面皆被需求 Unlike his low-budget black and white Double Suicide, Gonza the 所操控。影評人佐藤忠男觀察到角色的鞠躬、問候甚至 Spearman is given full luxury treatment. The samurai mansion is 比劍，皆依隨精密計算的節奏，亦反映歌舞伎張弛有度 decorated with scrupulous attention to detail. Characters move 的風格：演員在動作中突然停頓，示意行動導致決定性 in this rigorously formalised setting in ways that show how every 結果。就好像生命只跟從既定動作，無任何空間讓個人 aspect of daily life (and death) were controlled by its demands. The 自發「打破」儀式。 critic Tadao Sato observes that the character’s bowing, greetings, 一些影評人試圖尋找影片的現代性，突顯個人與社會的 and even sword fights partake of a calculated rhythmic flow and 對立。例如羅拔史弗曼視此為「對現今日本文化的強烈 also reflect the merihari style of Kabuki: the actor’s sudden halt in 控訴」，認為武士學習茶道是比喻「現代日本人學習使 movement, where by he signals action leading to decisive outcome. 用電腦的新時尚，是另一種形式的嚴密管制」。無論如 It is as if life followed only prescribed motions, leaving no room for 何，這是一部以嚴謹敘事、考究風格去探索心理及社會 spontaneous, individual “breaks” with ceremony. 的電影。 Keiko I. McDonald ‘Gonza: the Spearman: Bunraku and a New Mode of Interpretation’, Japanese Classical Theater in Films SHINODA Masahiro was born in 1931 in Gifu, Japan. He joined Shochiku Studio in 1953 as SELECTED FILMOGRAPHY 主要作品 an assistant director, and debuted as a director in 1960 with One-Way Ticket for Love, which 1965 With Beauty and Sorrow 美麗與哀傷 he also scripted. He is a central figure in the Shochiku New Wave alongside Oshima Nagisa 1969 Double Suicide 心中天網島 and Yoshida Yoshishige. 1986 Gonza the Spearman 槍聖權三 篠田正浩 1931 年生於日本岐阜，53 年加入松竹映画任副導演，師從小津安二郎、渋谷實 1971 Silence 沉默 等導演前輩。於 60 年編導首作《戀愛單程票》。與大島渚、吉田喜重同為松竹新浪潮領軍 1974 Himiko 卑彌呼 人物。 1990 Childhood Days 少年時代 198.
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