Rashomon (movie of 1950)
| Rashomon | |
|---|---|
| Rashomon | |
 | |
| Supervision | Akira Kurosawa |
| Script | Akira Kurosawa Shinobu Hashimoto |
| Production | Jingo Minoura |
| Performer | Toshiro Mifune Masayuki Mori Machiko Kyo Takashi Shimura |
| Music | Fumio Hayasaka |
| Photography | Kazuo Miyakawa |
| Editing | Shigeo Nishida |
| Production company | Daiei Motion Picture Kyoto studio |
| Distribution |  Daiei Motion Picture |
| Exhibition | 1950August 26 September, 1951 December 26, 1951 1952April 18 |
| Running time | 88 minutes |
| Production country | Japan |
| Language | Japanese |
"Rashomon" (and others thing to carry) is a Japanese movie released on August 26 (1950) in 1950. Daiei Motion Picture production, distribution. As for the supervision, Akira Kurosawa, the appearance are Toshiro Mifune, Machiko Kyo, Masayuki Mori, Takashi Shimura. Monochrome、Standard, 88 minutes.
Shinobu Hashimoto and Kurosawa adapted "Rashomon" for the original a short story of Ryunosuke Akutagawa in "a thicket", and Kurosawa took the megaphone. I described the figure which gave testimony which an eyewitness and the person concerned of a certain murder case ate each wrong from each viewpoint, and the stage investigated human egoism keenly in chaotic times of the Heian era.
I use the mirror without using the lev board to keep natural light alive and I perform photography [explanatory note 1] to turn a direct camera to a taboo and the sun which has been done in those days and it is extreme and projects the beauty of the monochrome picture by the epoch-making photography technique. Kazuo Miyakawa was in charge of the photography, and Kurosawa judged photography of Miyakawa "to be more than 100" [1]. Fumio Hayasaka deals with the music and becomes the bolero-like music generally.
I won a Japanese movie first Venice International Film Festival gold lion prize and prize for Academy Award reputation, and Akira Kurosawa and Japan movie were a chance to be evaluated the recognition in the world. Works affected by this product include "it is マリエンバート last year" of director Alain Resnais.
Table of contents
Outline
The Heian era。 War and the capital of Kyoto that the hearts of the people were disturbed in a plague, a natural disaster, and went to ruin which beat, and spread out. A domestic help does it in Rashomon while it rains. It was for a shelter, but 杣売 りと trip Buddhist priest sat down for absentmindedness there. When the domestic help hears the whole story of the case that two people would have a relation toward to kill boredom, two people begin to talk about the case that is terribly strange that took place three days ago.
One day I detected the body of samurai, Takehiro Kanazawa when I went to get firewood in the Mt. 杣売 りが. "A rope" cut "a warrior's headgear" stamped on "a female marketeer's hat" and "the amulet case of red home-woven goods" fell into the side, and "a sword" of Kanazawa that should be over there again and "the knife" of the wife disappeared. I told 杣売 りは police and judicial chief in ancient times. A trip Buddhist priest was called by a police and judicial chief in ancient times and testified that I saw it when a killed samurai did a trip with wife, Masago.
As the convict who murdered a samurai before long, 多襄丸 of the thief has been taken. Because because 多襄丸 took a woman, tied a samurai to a tree, and "was which, or died than what showed died because was hot, and a woman said to two people, it is a thing of the which survived for one's shame" in women afterwards hand basket めにしたが; is one-on-one with a samurai; fought a deal, and beat it. However, I testified that the woman had escaped in the meantime. It is said that I do not know the whereabouts of the knife.
Wife, Masago of Takehiro who survived was brought in a few minutes by a police and judicial chief in ancient times. After having permitted a man a body according to Masago, it is said that the man escaped without murdering a husband. But the eyes of the husband who looked at oneself embraced in front of eyes by the other man were dyed in contempt and accused it at a husband to forget me unintentionally, and to kill oneself, but a knife stuck in a husband and was dead when they lost consciousness and noticed surplus hotness before long. Oneself followed it and was going to die, but testified that I was not able to die.
And a medium is called to get the testimony of the husband. After I was humiliated by 多襄丸, as for the soul of husband, Takehiro, wife, Masago moves feeling to 多襄丸 through a medium, and it is said that I said to him instead of going together, to kill one's husband. And 多襄丸 which heard this is enraged, and it is said that I said that I murder you, or you of the husband may decide whether you keep a woman alive. However, Masago who heard it escapes, and 多襄丸 disappears, and it is said that oneself left one for killed itself with the knife of the wife because of too much regrets.
I finish talking about the say of three people differing each and tell 杣売 りは, a domestic help "to tell a lie with three people". The 杣売 りは fruit witnessed a case. And the figure of people concerned of the case to talk about to 杣売 りが domestic help was too unshapely and was shallow.
Production, public
Production process
Shinobu Hashimoto who received instruction as Mansaku Itami only pupil became the pupil of Kiyoshi Saeki after death of Itami and studied the script while doing an office worker. After (1949), Hashimoto writing the work which a short story of Ryunosuke Akutagawa adapted "the inside of the thicket" for in 1949, and showing this script in Saiki, a script always turned around in a hand of Akira Kurosawa whom there was of the acquaintance, and Kurosawa took this up as a product on the next time. As for the scenario which Hashimoto wrote, three that the samurai of the trip was related to over a killed murder case in the suburbs of Kyoto testified in police and judicial chiefs in ancient times, but [1] that was a story of the misanthropy that all differed it and did not know the truth at all added a scene of the 杣売 りの testimony and an episode of "Rashomon" of Akutagawa and the episode of the baby who came out at the last scene to a movie to do it because it had a too short it.
Kurosawa established association of film art with Mikio Naruse, Kajiro Yamamoto, Sojiro Motoki and others under the influence of Toho dispute, and it became free, but the association had made a contract with Daiei Motion Picture, and production negotiated in those days in the company. However, I persuaded you saying "a set was full, and there is it", and, as for Kurosawa, a plan was finally approved by Masakazu Nagata of the president because Daiei Motion Picture made a neck tricky for the filmization of this difficult work [2].
Photography
The photography was carried out in Daiei Motion Picture Kyoto studio. I built the open-air set of full-scale "Rashomon" in the open space in front of the studio. As for this set, the pillar baked "Enryaku era 17 years" and carved tile 4,000 pieces using 18 great gifts of the neighborhood 4 shaku (approximately 1.2 meters) with 18 ken of frontages (approximately 33 meters), depth 12 ken (approximately 22 meters), 11 ken of height (approximately 20 meters) [1]. Furthermore, I greatly destroyed the right side of the gate and reproduced the figure which went to ruin. The finished gate becomes very huge, and "I did not mean to build such a big thing", and Kurosawa talks with [3], too. Matsutaro Kawaguchi of the Daiei Motion Picture director complains of "having been taken in by black", too [3]. The framed picture of the gate is vertical 120cm, size of 15 centimeters of 2 meters in width; the character a thing [explanatory note 2] by Shotaro Uno of the calligrapher. The set cooked any place other than this gate was only a sand bar of the police and judicial chief in ancient times and, in the scene of the forest, was photographed a location in a virgin forest of Nara Okuyama and a forest of Komyo-ji Temple.
It is said that I mix a sumi with water and brought it with a hose to take a rainy picture with the force with a monochromatic camera in the opening rainy scene. I use this way in the battle scene in the heavy rain of "seven samurais".
A performer is only Daisuke Kato, eight people of Fumiko Honma in Machiko Kyo, Masayuki Mori, Kichijiro Ueda, a bit part for Toshiro Mifune, Takashi Shimura of the Kurosawa movie regular customer, Minoru Chiaki and others. The Masago role of heroine intended to go in Setsuko Hara at first, but because Kyoto yearns for this position and shaves the eyebrows and faced the audition, Kurosawa buys enthusiasm of Kyoto, and it is said that it was fixed at Kyoto.
A fire broke out during postrecording collecting (1950) a studio on August 21 1950 just before the completion, and the original negative was safe, but some sound negatives are disappearance. Furthermore, flame breaks out during the test with the film projector again on the next day, and an accident that the sickbed is accompanied by approximately 30 staff by poisonous gas released by a film gets up [4]. The preview is a plan of August 25, but Kurosawa works on recording in remainder two days and gets it ready for a preview somehow.
Public
On August 25, a preview was held on Daiei Motion Picture head office the fourth floor. However, President Nagata who saw a preview felt indignant saying "I do not cut it for such a movie, reason" and I was on the way and have left. Furthermore, Nagata relegates a director of General Affairs Department to Hokkaido and lets you fire Sojiro Motoki of the undertaker [5].
This product was released on August 26 on this next day, but it might be said that it was a difficult work and the evaluation in the country was right unpopular and was ranked the fifth place in the cinema ten-day report top ten in this year. The box office was numbers few for Kurosawa work, too.
At the end of the same year, a letter of exhibition invitation was sent to Japan by the Venice International Film Festival and the Cannes Film Festival. I would choose the recommended work from each movie company to choose the candidate product of the Cannes Film Festival to be held earlier and picked "gala dress to be able to feign" and "Rashomon" of Kozaburo Yoshimura from Daiei Motion Picture [explanatory note 3]. I performed the vote by the person concerned from that, and "Rashomon" was chosen as a candidate product when higher 2 work was until "a day to see again". However, I decline this though refusal, "Rashomon" remain because Toho of the production company cannot manage to come up with an exhibition expense under the influence of a dispute until "a day to see again".
Meanwhile, ジュリアーナ ストラミジョーリ of the イタリフィルム president will look for a Japanese exhibition product by a request of the Venice International Film Festival, but I watch "Rashomon" that is the one when I see several of them and a candidate product and am moved and decided it to an exhibition product, but the Daiei Motion Picture side objects to this. Therefore ストラミジョリ posted English subtitles at own expense and spent it for a film festival.
Most people did not expect the receiving a prize of the work including a director of Daiei Motion Picture, but they were praised highly very much as soon as it was on at the Venice International Film Festival and acquired lion Prize (1951) in those days on September 10 in 1951. However, the Vietnamese man who walked the town in a hurry will receive a trophy instead because nobody participated in a film festival as for the person concerned with Japanese production. It was reported a photograph, and this figure has caused misunderstanding that this unrelated Vietnamese was Kurosawa.
永田は受賞の報告を聞いて「グランプリって何や?」と聞き返し、「訳分からん」と批判していたにもかかわらず、手のひらを返したように大絶賛し始め、自分の手柄のように語った。人はそんな永田の態度を「黒澤明はグランプリ、永田雅一はシランプリ」と揶揄した。黒澤も後年このことを回想し、「まるで『羅生門』の映画そのものだ」と評している[3]。その後の大映は娯楽映画路線から芸術的大作映画路線へと転じ、吉村公三郎の『源氏物語』、溝口健二の『雨月物語』『山椒大夫』、衣笠貞之助の『地獄門』といった同社作品が次々と海外映画祭で受賞している。
黒澤明は、作品が映画祭に送られたこと自体も知らず、受賞のことは妻の報告で初めて知ったという。後に開かれた受賞祝賀会で黒澤は次の発言をしている。
- 「日本映画を一番軽蔑してたのは日本人だった。その日本映画を外国に出してくれたのは外国人だった。これは反省する必要はないか。浮世絵だって外国へ出るまではほとんど市井の絵にすぎなかったよね。我々は、自分にしろ自分のものにしろ、すべて卑下して考えすぎるところがあるんじゃないかな? 『羅生門』も僕はそう立派な作品だとは思っていません。だけど、「あれは まぐれ当たりだ」なんて言われると、どうしてすぐそう卑屈な考え方をしなきゃならないんだって気がするね。どうして、日本人は自分たちのことや作ったものに自信を持つことをやめてしまったんだろう。なぜ、自分たちの映画を擁護しようとしないのかな？ 何を心配してるのかなって、思うんだよ。」[1]
1951年度の第24回アカデミー賞では日本映画初の名誉賞（現在の外国語映画賞）を受賞。翌1952年（昭和27年）度の第25回アカデミー賞では、美術監督賞（白黒部門）にノミネートされ、この授賞式には淀川長治が出席した。
"Rashomon" のグランプリ受賞は、当時まだ米軍占領下にあり、国際的な自信を全く失っていた日本人に、古橋廣之進が競泳で世界最高記録を樹立したことと、湯川秀樹がノーベル物理学賞を受賞したことと共に、現代では想像も出来ぬ程の希望と光明を与えた。 この受賞により黒澤明監督と日本映画は世界で評価されていき、日本映画も黄金期へと入っていった。
評価
ランキング
本映画は現在に至っても国内外で高く評価され、映画批評家を対象にした過去作品のランキング等に載っている。
- 1959年：「日本映画60年を代表する最高作品ベストテン」（キネマ旬報社発表）第12位
- 1979年：「日本公開外国映画ベストテン（キネ旬戦後復刊800号記念）」（キネ旬発表）第9位
- 1989年：「日本映画史上ベストテン（キネ旬戦後復刊1000号記念）」（キネ旬発表）第15位
- 1989年：「大アンケートによる日本映画ベスト150」（文藝春秋発表）第4位
- 1995年：「オールタイムベストテン」（キネ旬発表）
- 「日本映画編」第7位
- 「世界映画編」第33位
- 1999年：「映画人が選ぶオールタイムベスト100・日本映画編（キネ旬創刊80周年記念）」（キネ旬発表）第5位
- 2009年：「映画人が選ぶオールタイムベスト100・日本映画編（キネ旬創刊90周年記念）」（キネ旬発表）第7位
以下は海外でのランキング
- 「映画史上最高の作品ベストテン」（英国映画協会『Sight&Sound』誌発表）※10年毎に選出
- 2000年：「20世紀の映画リスト」（米『ヴィレッジ・ヴォイス』紙発表）第10位
- 2010年：「史上最高の外国語映画100本」（英『エンパイア』誌発表）第22位
- 2010年：「エッセンシャル100」（トロント国際映画祭発表）第14位
受賞歴
受賞
- 1951年：ブルーリボン賞脚本賞
- 1951年：毎日映画コンクール女優演技賞（京マチ子）
- 1951年：ヴェネツィア国際映画祭金獅子賞、イタリア批評家賞
- 1951年：第24回アカデミー賞名誉賞
- 1951年：ナショナル・ボード・オブ・レビュー賞 監督賞（黒澤明）
- 1951年：全米映画評論委員会賞監督賞（黒澤明）
- 1982年：ヴェネツィア国際映画祭栄誉金獅子賞（黒澤明）
ノミネート
- 1952： 第25回アカデミー賞美術監督賞（白黒部門）（松山崇）
- 1952年：英国アカデミー賞 総合作品賞
- 1953年：アメリカ監督組合賞
スタッフ
キャスト
- 多襄丸： Toshiro Mifune
- 都の内外に悪名が轟く盗賊。女好きとしても有名。真砂の美貌や気性の激しさに惹かれ、金沢夫婦を襲う。
- 金沢武弘： Masayuki Mori
- 旅をしている武士。言葉巧みに多襄丸に山奥まで連れて行かれ、木に縛られ、妻を手籠めにされる。
- 真砂： Machiko Kyo
- 金沢の妻。一見、おとなしく貞淑な妻だが、内心では激しい気性を抱えている。
- 杣（そま）売り： Takashi Shimura
- 金沢の遺体の第一発見者。事件を目撃し、人間不信になるが、最後に人間らしさを取り戻し、捨て子を育てようと決心する。
- 旅法師：千秋実
- 生前の金沢を目撃していたため、検非違使に呼ばれる。杣売りの話を聞いて人間不信となるが、ラストの杣売りの行動に心を救われる。
- 下人：上田吉二郎
- 雨宿りの際に暇つぶしに杣売りの話を聞く。杣売りの偽善性を突き、人間のエゴイズムをさらけだす行動をラストにおこなう。
- 巫女：本間文子
- 巫女というより霊媒師。金沢の霊を呼び込み、証言をおこなう。
- 放免：加東大介
- 河原で倒れていた多襄丸を発見し、検非違使に連行する。
エピソード
リメイク
『暴行』The Outrage アメリカ映画 1964年、オリジナル版『羅生門』の権利を正式に買い、この脚本を元に、舞台をメキシコに置き換えて再映画化された。
- 監督：マーティン・リット
- 強盗カラスコ（多襄丸）：ポール・ニューマン
- 夫（金沢武弘）：ローレンス・ハーヴェイ
- 妻（真砂）：クレア・ブルーム
- 探鉱者（杣売り）：ハワード・D・シルバ
- 牧師（旅法師）：ウィリアム・シャトナー
- ペテン師（下人）：エドワード・G・ロビンソン
『ウモーン・パー・ムアン－羅生門』（U Mong Pa Meung、อุโมงค์ผาเมือง、英題：The Outrage） タイ映画 2011年、オリジナル版『羅生門』の脚本をククリット・プラーモートが演劇用にタイ語に翻案した脚本を原作に、舞台を今から約500年前のタイに置き換えて映画化。
- 監督：パンテーワノップ・テーワグン（M.L. Pundhevanop Dhewakul、th:หม่อมหลวงพันธุ์เทวนพ_เทวกุล）
- 妻:シューマーン・ブンヤサック（en:Laila Boonyasak)
- 夫：アナンダ・エバーリンガム（en:Ananda Everingham）
- 僧：マリオ・マウラー
- 盗人：ドーム・ヘートラグーン（th:ดอม_เหตระกูล）
また、1971年（昭和46年）に松竹で、当時俳優として売り出し中の三船史郎（三船敏郎の長男）の主演で、リメイク版『羅生門』の制作が発表されたが、準備中のまま完成には至らなかった。配役は次の予定であった。
脚注
- 注釈
- ^ フィルムが焼けてしまうため、タブーとされていた
- ^ 東京国立近代美術館フィルムセンターHP フィルムセンター・ニュース「『羅生門』扁額の書家が判明」 同サイトによると、その扁額は現在宮川一夫の息子が所蔵している。
- ^ 東宝からは『また逢う日まで』と『愛と憎しみの彼方へ』、松竹からは『長崎の鐘』、東横映画からは『レ・ミゼラブル ああ無情』と『日本戦歿学生の手記 きけ、わだつみの声』、新東宝からは『暁の脱走』を選出
- 出典
関連項目
外部リンク
- デジタル完全版 『羅生門』 角川映画株式会社
- 羅生門 - Rotten Tomatoes（英語）
- 羅生門 - Box Office Mojo（英語）
- 羅生門 - allcinema
- 羅生門 - KINENOTE
- 羅生門 - AllMovie（英語）
- 羅生門 - インターネット・ムービー・データベース（英語）
This article is taken from the Japanese Wikipedia Rashomon (movie of 1950)
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