SHOCHIKU CINEMA: 100TH ANNIVERSARY 松竹映画 100 周年

1954 | Japanese | DCP | B&W | 156min 1958 | Japanese | DCP | Colour | 118min Director Kinoshita Keisuke Director Ozu Yasujiro Producer Kuwata Ryotaro Producer Yamanouchi Shizuo Scriptwriter Kinoshita Keisuke Scriptwriter Noda Kogo, Ozu Yasujiro Cinematographer Kusuda Hiroyuki Cinematographer Atsuta Yuharu Editor Sujiwara Yoshi Editor Hamamura Yoshiyasu Production designer Nakamura Kimihiko Production designer Hamada Tatsuo Music Kinoshita Chuji Music Saito Kojun Cast Takamine Hideko, Natsukawa Shizue, Sound Senoo Yoshisaburo Ryu Chishu Cast Tanaka Kinuyo, Arima Ineko, Production/World Sales Shochiku Co., Ltd. Yamanouchi Fujiko, Saburi Shin Production/World Sales Shochiku Co., Ltd.

©1958/2013 Shochiku Co., Ltd.

Equinox Flower Higanbana 彼岸花

Because of the film’s shifting plotlines and elliptical narration, [影評摘錄] parametric variations often function partly to indicate the passage 因影片的主線轉移、敘事省略，景物變化往往用以呈現 of time. Our introduction to Hirayama’s office comes with a shot 時光流轉。開首介紹父親平山的辦公室，抹窗工人在 of clerks working while men wash windows; fifteen scenes later, 十五個鏡頭後已不見了。最顯眼是平山家處處可見的紅 there are no window-washers. Most prominent are the red objects 色物件，由飯枱、收音機、椅上坐墊以至茶壺。片名也 dotted around the Hirayama home – table, radio, chair-cushion 綻放一片鮮紅。坐墊與茶壺的功能，既是場景道具，也 and teakettle. The amaryllis – the equinox flower of the title – puts 是顯示敘事情景的變換，同時亦是顏色襯托。小津曾 out clusters of red blossoms. The cushion and teakettle function at 說：「我希望突出散布各處的紅色。紅色在愛克發菲林 once as props to be permuted within shots, as indices of changing 上特別華麗奪目。」 narrative situations, and as pure spots of colour. “I wanted to 《彼岸花》重拾男子氣概失落的主題，將主角的衰微與 highlight red here and there. Red turns out magnificently of Agfa 《晚春》父親及《茶泡飯之味》丈夫的沉靜自信互為對 film.” […] 照。雖然時間設定為夏季，卻是一部秋天的電影，是彼 Equinox Flower revives the theme of the loss of masculinity, setting its 岸花盛放之時。將父親刻劃成任性、小氣及專制，平山 hero’s decline against the quiet but assured authority of the father in 依然無權無勢。他的女兒自把自為，視他的認同可有可 Late Spring and the husband in Flavor of Green Tea over Rice. Although 無。平山在家裏除了能關掉收音機外，所有戰役全軍覆 set in summer, this is a film of autumn, the time when the equinox 沒。他怨恨女兒男友谷口，可能是出於競爭心態。正如 flower blooms. Characterised as a willful, often petty and tyrannical 小津表示「當他的女兒被另一男人搶去，父親妒忌，感 father, Hirayama remains powerless. His daughters will do as they 覺切膚而原始。」 please, preferably with his content but if necessary without it. […] As 在小津五十年代的電影裏，他幽默而感傷的父權失落主 Ozu puts it, “When his daughter is taken by another man, the father is 題，轉化到一個新的歷史層次；而《彼岸花》揭示了這 jealous and he feels something physical and primitive.” 種歷史性，寄予同情，且不失諷刺。 David Bordwell Ozu and the Poetics of Cinema

OZU Yazujiro (1903-63) was born in Tokyo, Japan. He joined Shochiku’s Kamata Studio as SELECTED FILMOGRAPHY 主要作品 an assistant in the cinematography department in 1923, and directed his first film, Sword 1932 I Was Born But 我出生了，但⋯⋯ of Penitence, in 1927. Acclaimed for originating the “shomin-geki”, his experiences during 1936 The Only Son 獨生子 the war resulted in his making more serious, thoughtful films at a much slower pace, best 1949 Late Spring 晚春 represented in Tokyo Story (53). 1953 Tokyo Story 東京物語 小津安二郎 (1903-63) 生於日本東京，1923 年進入松竹蒲田攝影廠工作。服兵役後回松竹 1958 Equinox Flower 彼岸花 任助導，27 年執導首作《懺悔之刃》。拍庶民劇顯露才華，其後轉拍嚴肅作品，多取材家 1960 Late Autumn 秋日和 庭和兩代關係，經典無數。 1962 An Autumn Afternoon 秋刀魚之味

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