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
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"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
  • 1982年：「映画批評家が選ぶベストテン」第81位
  • 1992年：「映画批評家が選ぶベストテン」第66位
  • 1992年：「映画監督が選ぶベストテン」第10位
  • 2002年：「映画批評家が選ぶベストテン」第13位
  • 2002年：「映画監督が選ぶベストテン」第9位
  • 2012年：「映画批評家が選ぶベストテン」第26位
  • 2012年：「映画監督が選ぶベストテン」第18位
• 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

• 監督：黒澤明（映画藝術協会）
• 製作： Jingo Minoura
• 企画：本木荘二郎（映画藝術協会）
• 原作：芥川龍之介
• 脚本：黒澤明、橋本忍
• 撮影： Kazuo Miyakawa
• 音楽： Fumio Hayasaka
• 美術：松山崇
• 照明：岡本健一
• 録音：大谷巌
• 編集： Shigeo Nishida
• 助監督：加藤泰
• 記録：野上照代

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

下人役の上田吉二郎は、本作のグランプリ受賞後、葉書半分大の大きな名刺を作り、「グランプリ受賞の羅生門出演、上田吉二郎」と印刷して話題をまいた^[6]。

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。

• 多襄丸：三船史郎
• 金沢武弘：篠田三郎　
• 真砂：岩下志麻

脚注

[ヘルプ]

注釈

1. ^ フィルムが焼けてしまうため、タブーとされていた
2. ^ 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。
3. ^ 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

1. ^ ^{a b c d} 都築政昭著『黒澤明 全作品と全生涯』
2. ^ 『独立-冷戦の谷間で 昭和25年-27年』p.185
3. ^ ^{a b c} 黒澤明著『蝦蟇の油 自伝のようなもの』
4. ^ 映画保存協会 映画保存とは 第二章「映画フィルム」
5. ^ 『偽りの民主主義 GHQ・映画・歌舞伎の戦後秘史』p.160
6. ^ 『日本映画の若き日々』（稲垣浩、毎日新聞社刊）

関連項目

• 羅生門式調査手法
• 羅生門効果

外部リンク

映画ポータル プロジェクト 映画

ウィキメディア・コモンズには、羅生門 (1950年の映画)に関連するメディアがあります。

ウィキクォートにen:Rashomon (film)に関する引用句集があります。

• 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）

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Program picture

Not only I enumerate it, but also the source, please specify whether it is the source of information of which description using footnotes. I would like cooperation for the reliability improvement of the article. (October, 2015)

With the program picture, a specific movie company rules over production, distribution, the performance single-handed in the times when I was ever said to be the heyday of the Japanese movie, and a movie company grasps a decision right in the work to show in a movie theater in a block booking, and the annual screening schedule lets you do the form shown along the schedule of the movie company and the movie which does it like that, and is shown.

Table of contents

Summary

The definition of the program picture is complicated and may delicately slip off by how to use term in the same way as B movie.

• I place a work (picture) burying a public annual program (program) in. ^[1]
• About the movie which is made to bury a planned program, it becomes the work which is ordinary for a product. ^[2]
• I place a long piece work (feature) becoming center, Maine of the program in the performance that came to be used in the United States from the mid-1910s. ^[3]
• I place a work made as a side dish rather than Maine under the mass production system from 1950s through 1970s in Japan. ^[4]

According to "the world movie size encyclopedia," one film was the longest in the United States of the movie days of creation a running time, and it was custom that constituted program (program) where I gathered several works in the performance. Several works (lengthiness of a reel of film or tape thing) came up before long, and they became the attraction of the performance and came to be called feature (feature) film. I point out that it seems to be right here in the origin. However, I state with "a feature", but, with written by Mikiro Kato "cultural history (Nakakou new book) of a movie theater and the audience" writing a form of the movie performance of the times when a nickel odeum reaches the picture palace in detail, the main volume is not used for the word "program picture".

In addition, it "is commonly used by the following explanation in Japan that development that the work which crosses a program in a double feature, the threefold system of the long piece work in the after 50s in one, Japan, and is new every week is released, and fares are replaced calls custom and the work which was made in sequence that it is and maintains a program on this occasion with a program picture" and adds it with [⁵] while doing it when it comes to an ordinary work as a product with "a movie small encyclopedia" in the case of Japan, and doing it when I let you do a side dish with "a world movie size encyclopedia". I chose you from plural works freely in a cinema complex and, as of 2015, could see it, but naturally it was said that I saw only the work of the specific movie company in a once specific movie theater. The Toei work showed only Toei direct management building and contract building, and both Toho and Shochiku were seen only with direct management building and contract building in the same way, and the work shown there was shown with a double feature by a unit by a unit afterwards for 2-3 weeks for one week for the heyday. Therefore, by a system to produce it in the period when a movie company put up an annual schedule and counted these movies backward from scheduled screening date and was decided, and to show, it was produced on this system and was distributed, and a movie shown in a decided schedule was called with a program picture.

In this case, the Japanese movie does not necessarily have the movie of the form placed as clear B movie like an American film, and the performance side only arrests so the side dish to the last, and a side dish may really remain in the memory of the audience, and therefore a lot of screening of the long knitting double feature may merely call all Japan movies in that time with "a program picture". In that case, it may be spoken as a different definition as follows.

• I let you do the work which became the popular hit series by a Japanese movie for a long time. I came by maintaining the block booking that I fixed from distribution and the filmmaking of the stable movie to performance because I caught a fixed constituency by a specific star-centered program picture, and stable performance profit went up it in yakuza route of Toei, the Tora series of Shochiku, the irresponsible series of Toho, the president series, the young general series, the Zatoichi series of Daiei Motion Picture, the sleep maniac Shiro series. These popular series would support a Japanese block booking. And it is said that extinction of the popular series caused the collapse of the program picture. ^[6]

Akira Kobayashi "migratory bird" is the series of the popularity star who can expect profit surely even if Ken Takakura "Abashiri land without a lot number" is not very popular like Junko Fuji "scarlet peony gambler", and, as for what pulled a Japanese movie for a long time, Kazuo Hasegawa "shape of a coin flat next arrest reserve" is to have produced other ambitious works and masterpieces with the profit Chiezo Kataoka "tattoo third-ranking official" Utaemon Ichikawa "direct feudatory of a shogun boredom man" Kanjuro Arashi "pommel horse long-nosed goblin".

History

Double feature performance began in the process when a Japanese movie developed into in the early 1950s [⁷]. It is because there was a strong request on the movie theater side to perform mainly. And the production company fixed the mass production system of the movie in response to the request, and the competition that the company had a movie theater as an affiliate began, and it became the union card to set a work beside a popular actor. The movie theater side prepares a popular star and demands it so that box office a week goes up it surely, and the production side will continue making it to show a work in response to it every week. This was called a block booking, and a performance form [⁸] to control plus or minus that I knew it in what I always distributed a movie to not playing with each work between years was Japan, and this and normal screening form was from prewar days.

Originally because I showed a movie first and ran a show, I entered the world of the movie, and there was many what started a coming-of-age ceremony for a boy of a samurai family and filmmaking, and grasped real power of the management of the movie company in duties to distribute a movie to before long in the United States. Zoo car of Paramount, Goldwin and Meyer of MGM, the Warner brothers of WB were the examples, but it was not necessarily similar progress in Japan, but it was excitement in which company forming a distribution network well after all, and being independent, and being independent, and distributing the work which I produced, and finding a movie theater. The work of Toei which merged in postwar period, and was established was the relation that Toho distributed first (as for Toyoko Eiga Co., Ltd. Era before it Daiei Motion Picture), and Toei carried out double feature performance for the expansion of the distribution network quickly and stretched out the number of the movie theaters by the blockbuster of "the Toei entertainment version" drastically and came to continue producing two new works every week from here.

On the other hand, verticality structure of production, distribution, the performance collapsed saying that a movie company mentioned the Antitrust Law in "Paramount suit" in the United States in 1948 and parted with the movie theater which the company had as an affiliate, and it was the free booking that could choose a screening work freely, and it was form to play by each movie, and B movie declined, and the movie company came to take the principle of masterpiece before long, but the movie theater side took the principle of mass production to produce a work different every week with a double feature by the block booking system which was strong adversely in Japan, and to show. This is called a program picture in Japan.

Therefore, the double feature that prepared a star in whichever in a long piece not a double feature with the B movie which the running time that the United States had was low-budget briefly, and a star did not appear became common. And even a commonplace work was interesting, and even a short piece was one week with the ambitious work and the masterpiece and the masterpiece during an all screening period even if the production number showed a new work with a double feature with 104 every week a year in Toei of the late 1950s in 52 weeks a year for the golden age of the historical drama and was the work using the new face actor of the supervision that was young even if it was "Chushingura" of the all-star cast there. ^[9]If I showed a masterpiece and a masterpiece with a special first-run showing exhibition as a foreign film and made a hit, I might continue road show [¹⁰] more than one year, but even Manager Akira Kurosawa work was the same in until 2-3 weeks even if the Japan movie was shown in a normal movie theater and had a long it. And there was the case which did 1 bookends screening as a trial from 1964, but the decline of the Japan movie began before long, and the Japanese program picture kept existence for a while by continuing making the work which I accepted in a stable income of the popularity series that I settled in and the time including radical description and yakuza route, the pink route.

in Japan

It was Toei by a Japanese movie from the mid-1950s through mid-60s that I mass-produced movies most strongly, and produced a large number of program pictures. I made second Toei with a circuit as 2 systems from 1960 through 1961, and Hiroshi Okawa thought in the direction that divided a historical drama route and a present age drama route, but the movie theater side called for a historical drama in second Toei, and many products would do an after all similar historical drama, and I came to be made fun with the mass production of inferior goods, and second Toei was abolished at the end of 61. It is said that it was a beginning of fall of the gorgeous Toei historical drama which was just a golden age of Toei [¹¹].

Is the company which Toei makes rapid progress by the filmmaking that did led by a historical drama star in this time very much, and occupied the at one sweep industry leading position; at this time most of the program picture it was the making of the schedule a year that originally functioned. The plan of the historical drama movie of Toei was made in the next procedure at this time after 1,960 years ago. At first they cross an annual program schedule with an average of six a year per person in Chiezo Kataoka, Utaemon Ichikawa, Kinnosuke Nakamura, Hashizo Okawa who were a lead star at the time, Otomo willow Taro and others, and, in Toei in normal that time, New Year holidays and the tray incorporate cicada all-stars in a schedule what put up the lineup that is particularly strong [¹²] (Golden Week) a year during the period of four of (about Culture Day of November) in a tray, a silver week for Golden Week for New Year holidays in the week when an important point of the performance is put beforehand in an all-star cast, the week of two of the trace. And, as for "this week, as for "this week, the program of the star starring is decided on a bridge storehouse" Kinnosuke". On top of that, an annual production schedule was decided including a run-up. "Who does it?" that is a plan was put up in the rotation of the star in total "what do you not do?" [¹³]. The historical drama which was more than 80 of them a year was made in the Toei Kyoto studio at the time and produced a year more than 100 movies when there was second Toei. The companies were special handlings, but Toei had supervisors such as Sadatsugu Matsuda, Tomu Uchida, but the supervision works such as Akira Kurosawa of Toho, Yasujiro Ozu, Keisuke Kinoshita of Shochiku were the mass production systems led by the lead star to the last.

The making of script is the star center, too. A scenario is made so that a supporting actor must not attract attention, and the leading role attracts attention. Of the pattern same as for the natural contents is repeated. However, even the movie of "the usual pattern" made a hit. "I am formulated and become the mannerism, but it was extremely this kind of movie that the vision of the strong order that it is never out of order is established, and it is the most stable, and made a profit in the golden age of the Japan movie", and Tadao Sato of the film critic speaks it with [¹⁴]. But a turning point comes before long. A historical drama of Manager Akira Kurosawa gave a shock for Toei historical drama.

"Bodyguard" "camellia Sanjuro of Akira Kurosawa," the historical drama movie of other companies such as "seppuku" of Masaki Kobayashi makes a hit, and popularity withers and falls at a stretch when Toei historical drama fades and I produced the group rivalry historical dramas such as "13 assassinators", but will be replaced Ken Takakura, a chivalrous spirit movie of Koji Tsuruta before long without popularity recovering. And the mass production system of Toei is over, too, and a double feature latest exhibition every one week becomes before long every two weeks; in 1964 of Manager Tadashi Imai "Echigo pipe lets be and "the starvation straits" of the Tomu Uchida supervision stand one in 1965 and are shown wisdom tooth" "revenge" with [¹⁵]. The mass production system was over, but Toei forms a tough program picture by a historical drama route of the 1950s, and it is said that it enters in the 60s, and the yakuza movie of the chivalrous spirit route was able to succeed well [¹⁶].

Footnote

1. ^ 「日本映画のヒット力～なぜ日本映画は儲かるようになったか～」大高宏雄　著　13P参照
2. ^ 「映画小事典」田山力哉　著188P参照
3. ^ 「世界映画大事典」　769P参照　
4. ^ 「世界映画大事典」770P参照
5. ^ 「世界映画大事典」770P参照
6. ^ 「日本映画のヒット力～なぜ日本映画は儲かるようになったか～」大高宏雄　著　14～17P参照
7. ^ 但し、必ずしも二本立て興行は戦後に行われたことではなく、戦前も行われていた。
8. ^ 「日本映画は今～スクリンの裏側からの証言～」229P 佐野量一著　TBSブリタニカ　1996年4月発行
9. ^ スターを揃えて量産体制が取れた東映は毎週2本の新作を作り続けたが、その他の東宝や松竹では東映ほどの量産体制は取れず、例えば黒澤明や木下恵介監督の作品は2週目に入って併映作品を変えたり、過去の名作をリバイバル上映したりしていた。
10. ^ 日本映画のロードショーは無いが、洋画ロードショー館に日本映画を上映させた例としては1974年の野村芳太郎監督の「砂の器」が最初である。
11. ^ 「あかんやつら～東映京都撮影所血風録～」春日太一、145～151P 参照
12. ^ このゴールデンウィークのもとの語源は映画からきた言葉であり、1954年頃に大映がこの期間の映画宣伝で「黄金週間」という表現を使ったことから始まった言葉である。
13. ^ 「あかんやつら～東映京都撮影所血風録～」春日太一、138～140P参照
14. ^ 「戦後映画の展開」58～59P参照　
15. ^ これらの作品は東映だが、一番早かったのは東宝で1964年2月15日に勅使川原宏監督の「砂の女」が一本立て公開で当時話題となった。この翌年に黒澤明監督の「赤ひげ」が同じく一本立て公開されている。
16. ^ 「日本映画のヒット力～なぜ日本映画は儲かるようになったか～」大高宏雄　著 14P

出典

• 「世界映画大事典」監修 岩本憲児・高村倉太郎、　編集 岩本憲児・奥村賢・佐藤順昭・宮澤誠一　　(株)日本図書センター　2008年6月発行
• 「映画小事典」田山力哉　著　ダヴィッド社　1987年9月発行
• 「日本映画のヒット力～なぜ日本映画は儲かるようになったか～」大高宏雄　著　ランダムハウス講談社　2007年11月発行
• 「日本映画は今～スクリンの裏側からの証言～」佐野量一 著　TBSブリタニカ　1996年4月発行
• 「映画館と観客の文化史」加藤幹郎　著　中公新書　2006年7月発行
• 「あかんやつら～東映京都撮影所血風録～」春日太一　著　文藝春秋社　2013年11月発行
• 「戦後映画の展開」講座日本映画5　岩波書店　1987年1月発行

関連項目

• B級映画
• B面映画

外部リンク

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ABC acid movie theater

"ABC acid movie theater" (I get A B sea acid and feel a burr) is movie information, an expectation program of the ABC radio (Asahi Broadcasting) company production broadcasted on the middle of the night of every Saturday.

ABC acid movie theater
Genre	Cinematic review, introduction program
Broadcast period	From April, 1993 to November, 2009
Broadcasting station	ABC radio
Production	Company production
Network	Kansai is local
Personality	Hideaki Hirano, Mutsuko Torii
Official site	Official site
I display a template

Table of contents

Personality

Hideaki Hirano (ひらのひであき) - broadcast writer. A person of movie expectation self-styled in Class same order "owners." The name in the program "teacher" or "Mr. Hirano." Other than criticism, I am in charge of an opening call, the reading aloud of the contribution, the notice of the program event, the coverage of the movie-related event and interview, the editing of the interview.

Mutsuko Torii (I take it and am, and Mutsu comes) - free announcer. The name "Torii" or "むっちゃん." I am in charge of a call, the contribution of an opening and the jingle and the reading aloud of the address. A fan of Brad Pitt.

Other performers, staff

The mystery character whom a voice closely resembles to the first director appearing only in the group of ぼんちゃん - public performance. I appeared in the program only at the time of the first broadcast and fired a false charge and the criticism of irresponsible remarks as I was at a loss in personality for a movie because real nature was unclear every year. It is fade-out from early 2000.

Mayumi Miyamoto (みやもとまゆみ) - free announcer. I act as a regular for a short term for approximately three months from April, 2006. Pair with Torii with a program-limited unit called "PUFFY for mu Para" in the past; the relationship of the friend.

It is the program founder in Director Akihiro Itai - first generation. Itai names the program title it. I am separated from a radio by transfer in the company in 2000.

D Ito - program director. "Ito" is called "けんちゃん" from the torii from the plains. The director who supported the framework of this program as a successor of Itai for a long time. I digested a mixer from a way of queue alone, but, by personnel changes, left the program by broadcast of March 28, 2009 last. I am known as a Korean moviegoer as I make tears unconsciously when I hear the sound track of "the last present", and the one chooses Korea movie as best 3 in the every year year by all means.

Program summary

• Entering lines version during the drama that there are no lyrics of Robert Palmer "Addicted To Love" in from a sound track of the movie Grand blue on an opening theme
• On an ending theme Vangelis "Love Theme"

In April, 1993 as 45 minutes program broadcast launch. It was reduced for 30 minutes from October, 1996 by a program, but has been broadcasted as a program for from 26:00 to 27:00 of every Saturday for one hour from December, 1998. In April, 2007 when I greeted the program start 15th year, I receive the blast that largely changed the program (broadcast frame) of the midnight time zone and move back the broadcast launch time at 27:00. I returned to the broadcast of from 26:00 to 26:30 for three months from July, 2009 when I carried out exceptional large-scale reorganization for the summer. By the way, from the broadcast first time, it is not done a net in a local radio station except Kansai.

Because it was a local of the company production, and the budget was suppressed by the broadcast of the late-night frame low, it was produced by two personality and constitution by the director one. Still, in 2008, the Kansai director grand prix of the degree confers a prize on the same year in particular from the association of Japanese broadcast writer Kansai Branch (branch manager, Giichi Fujimoto). Just before the exhibition of movie "Ponyo", I received the direct nomination from the distribution side and reached it before I realized an independent interview with only Manager Hayao Miyazaki by a program of Kansai.

For three months from April, 2006, a torii is closed by medical treatment due to the pregnancy. Meanwhile, I appointed Miyamoto as the substitute of the torii. In July, 2009, I leave a program by the reason of plains entering during "a charge period to spread the judgment of the movie". Only Torii came to appear after changing a broadcast time from July 14, the same year, and having shortened it.

It becomes basic that Torii chimes in properly after Hirano spoke statement by the movie introduction of this program. In addition, I conveyed the summary of the movie with an impression, subjectivity and objective information based on own experience to be easy to be identified as plains, the torii to a listener.

On the plains in particular, I tended to dig down the contents of the movie to introduce for one feeling, "it reached the listener more" in the level that was a common saying. Therefore Torii responds when Hirano issues excessive subjectivity and severe criticism. Still when a topic, the lower evidence that is a groundless suspicion, a common saying as cannot respond is emitted from the mouth of plains; a torii "the worst" and "a minimum" and "a fool" it became classic to leave off a topic while "already swearing with ええちゅーねん" (already stop it).

Process until a program start

Hirano participates in the midnight broadcast "ABC radio city" of the ABC radio as a member of student staff "ADs" (A D). By broadcast of Wednesday when Yoshikazu Takeuchi and Mayumi Chiwaki acted as personality, I am in charge of a movie information corner. The corner is broadcasted as "a cinema Chinese restaurant" on Wednesday when Takeuchi, Chiwaki is in charge in a succeeding program "ABC radio paradise". I stood, and Akihiro Itai who was a director of Wednesday gave this program in form to inherit the corner taking advantage of what Class same order finished at the end of 1992.

In one torii, the wide program of the morning appears at the の broadcast corner that "is nice 9 Akihiko Nagasawa" as a reporter on ABC radio weekdays until I start this program. I bring on the atmosphere that is hard to approach the neighborhood as "a beautiful woman loss", and the plains that were a burr, the director of the corner determine will, and fear るおそる will act in the same play by this program taking advantage of having been called out to with "do you not do a movie program with me?" in a low voice.

Film review

The few work performed program's original frank criticism interestingly generally even if it was the movie with the name for a cinematic review if the interesting work which was not interesting was interesting, and the news to go to visit the movie theater in reference to the opinion of this program was put to the listener of the light layer except the movie fan by criticism (talking) that brought laughter into a listener clearly. Even if it was a biting evaluation and trashy work near a false charge, I lumped it together with a word of "the love to a movie" and almost reviewed it.

The severe criticism of the movie which adversely affected box office in the medium which an interest produced between the industries such as production, a distributor and advertising agency, the movie theater was ignored and the person who went to visit the movie theater was Ryosaku, or a lot of things which remained in a superficial passable introduction in the criticism were fine works or were a trashy work or were poor to the materials which the visitor could judge before paying an entrance rate once. I hung "a trashy work with a trashy work", and this program raised it and sent warning to the listener who should consider a movie, or hesitated only over an advance billing.

The detailed introduction that revealed an ending became NG in the custom of the industry and this program established the summary because of one after the fashion of it basically between time for around ten minutes in the early stages including the preview and introduced. However, even anyone abandoned custom with the case that an ending was talked all about in a preview by the highlight of the main volume and the foreshadowing that was cheap, and was a fixture beforehand when it was difficult even classic ending that an ending could expect, that I was on the way and crossed it in the forcible scene development that woke up a deviation intensely that overturned a story, the movie whole book, and constitution, direction introduced about the work which failed and might introduce from scene development to an ending while growling. I stood on them, and, other than a review from the front, a work drew a viewpoint from the production side what kind of positioning was or covered intention and ulterior motive loaded with in a work up by a personal viewpoint and groundless suspicion because Hirano was engaged in program production of a radio and TV and I took in a work and a comparison, interpretation, they all kinds of matters in talking and reviewed the mos of the personality individual and a sex ethic, outlook on love at the same time.

In addition, of a reaction and a listener contribution, the movie theater of an advance billing and advertising development, the audience which rolled up various industries in Japan which was main in megaflick without remaining only in a movie introduction get; information, word-of-mouth communication, a movie event, the information of the receiving a prize expectation of the movie Prize festival are picking up, too. I performed a review and the impression that I saw from performance side such as box office and profit, the number of the audience mobilization and spoke "I do not balance with the income and expenditure without the number of customers lengthening although I cast a large amount of production costs and advertising cost only by the force of the name" をといった opinion that "public information is weak though it should be the good movie which was able to pull in customers depending on invention of the advertising" that neither "the preview nor the main volume has a wide margin" and the reverse praise for distribution, an origin of production.

Corner

• New Cinema liner latest movie introduction
• It was a saucer of the excavation such as the rare works which were not commercialized even if there were the work which short-term, was finished publicly before opening by a work and the word-of-mouth communication that were not taken up by the program by a rental movie theater numerical limit, personal contemplation. An irregular corner.
• I provide violent conduct and the blunder of the celebrity whom I picked up from a Hollywood scandal gossip magazine of persimmon plains a little, leak article, industry circumstances.
• There is not the sound track decided section name, and plains select music from an exhibited work mainly. As for the music during the drama of the latest movie which Hans Zimmer was in charge of, it was selected music each time.
• During sound track house petit plains charge, it is the corner that began after it is broadcasted only at a torii. It is selected music in a request form in music used for a movie with the contemplation by a listener.
• I present present movie goods or the complimentary ticket of the preview by lot. I am announced by the program end game. I might be brought in by the business of the distributor saying "it is an acid because I was not able to deal".
• The interview to the actor whom a lot of people concerned with supervision and production for an interview interview mainly appear is rather less. It is interviewed a representative thing by west Fuyuhiko and Toshio Suzuki, George Lucas (interpreter, Natsuko Toda). An irregular plan.

Special plan

For the regular broadcast era, I held "the acid cinema grand prix" which touched the order of the movie in the year by the vote of the listener on Saturday on 30th from December 24 to become the last broadcast every year from the beginning of program start. It is the same as point system of the F1 and I divide 2 points in two in 3 points, the fifth place in 4 points, the fourth place in 6 points, the third place in 10 points, the second place in the first place and, about five best movies that listeners usually chose this ranking for first run movies until the end of November in the previous year in this year from December, calculate it each and announce the marking result. I announce the worst work in total. The ranking result was elected by expectation and the size other side, the worst of the advance billing to be megaflick and turned out specific when I attracted attention because I was criticized severely by a terrible trashy work, and a ranking became you.

In addition, I broadcast "best 10 that an acid chooses" to touch order for the movie which plains hit the year before the year on Saturday in a week in the first in first broadcast and January to be in the year. I announce each best 3 that "the Ito director" who is a torii and the program staff chose at the same time. Itai appeared by the name of "ぼんちゃん", too, but was not able to appear by transfer in the company. To unusually look back on the last year in a general program in the beginning of the New Year; performer reason "backward broadcast."

Special program

Other than time of the regular broadcast, I broadcast a special program "acid sound track house" based on an introduction, a request of the soundtrack at several times of paces in a year from 1998. Taking advantage of the musical piece of spy kids (unit of a movie and the same name) that it was made a movie with "acid sound track house episode 2" of the broadcast for campaigns of "Yumenoshima lost spy kids 2" in Japan in 2002 having introduced "the failure is not permitted", I came to use a part of the music as a jingle for "a sound track house".

In addition, as extra of "the sound track house", I broadcast the special program called "an acid sound track house annex" at any time. From 2005, I might broadcast the special program such as "the acid movie industry backs". いずれの番組も、テーマや放送枠が放送直前まで決まらないため、直近のレギュラー放送で告知を実施することが多かった。

レギュラー放送でのエピソード

平野の呼称である「先生」とは、「水野先生とぼんちゃん」から役柄を拝借した時の名残で、単なる通称に過ぎない。ちなみに、「ぼんちゃん」は板井が名乗っていた。

1995年の阪神・淡路大震災の直後には、自宅で被災した板井が、平野の住んでいたアパートで1週間程度生活を共にしている。平野は後の放送で、「自分のアパートに帰ると、ヘッドホンをして踊っている板井さんを見て暗鬱になった」と回想している。

平野が番組内で映画「北京原人 Who are you?」を酷評した直後に、同映画配給元の東映から報道関係者向けの新作映画試写やイベントにまったく招待されなくなった。そのため、同社配給の作品については、一時自腹を切っての取材・観劇を強いられた。

スタジオジブリ役員の鈴木敏夫が平野を懇意にしており、平野の取材に際しては、主要メディアのインタビューより一足踏み込んだ内情を打ち明け、ついでに平野にジブリ入社を勧めている。

スタジオジブリには細田守版「ハウルの動く城」が存在するのではないかという噂が存在するが、「時をかける少女 (アニメ映画)」の取材時、「インタビューにてジブリの名前を出すのはNG」との事前通告を無視して「細田守版ハウルの動く城、観て見たいですね」と平野が話題を振ると細田は大笑して「まぁまぁ」と制し、話題を切り上げた。

平野が『探偵!ナイトスクープ』の製作に携わっている縁もあり、三谷幸喜が「ザ・マジックアワー」のキャンペーンも兼ねて番組にゲスト出演。三谷が出演待機している目の前で、平野が「ラヂオの時間」を「ラジオを製作する現場の描き方が安直」とコキ下ろす。当の三谷は「たった3人で、本当に番組が放送されているのか」と少人数体制の方に驚いていた。

映画「ハンサム★スーツ」監督の英勉が公開に合わせた平野の取材を受けた際に「うちの弟がこの番組のリスナーで『先に平野さんに話を通さないと関西での広報活動は行えない』と脅され、身構えてインタビューに望んだ」と明かし、その場の勢いも手伝い、機会が合えば一緒に食事でもという話にもつれ込んだ。

映画「崖の上のポニョ」公開時における宮崎駿監督への単独インタビューでは、配給サイドからのオファーがあった直後に、平野が「なんでウチなんですか？　関西でのキャンペーンなら、視聴者数の多い『ちちんぷいぷい』や『ワイドABCDE〜す』に出た方がいいのでは？」と問い掛ける一幕があった。しかし配給サイドは、映画「もののけ姫」のヒットと日本アカデミー賞最優秀作品賞の受賞の際に受けたテレビ取材で、インタビュアーからの同じ内容の質問に宮崎が辟易していたことを理由に「テレビ取材を一切受けない」と説明。平野が「同じラジオに出るのなら、（『おはようパーソナリティ道上洋三です』の）道上洋三さんがいる」「ウチは深夜のラジオ番組だからリスナーが少ない」と食い下がっても、「関西で映画に詳しい平野さんだからこそお願いしている」との一点張りで、宮崎の来阪時に単独インタビューを実現させた。

番組イベント

1998年より年に1回のペースで、「電影特殊講義 映画学概論」と銘打ったトークイベントを開催。平野・鳥居に加えて、竹内義和も長年参加してきた。イベントでは、映画制作やキャンペーンの裏話、珍しいネタなどが紹介されるほか、竹内が持ち込んだ「秘蔵映像」も公開されていた。学園祭のイベントや特別講演会として、関西学院大学や神戸大学などでも実施。関西学院大学では、現在でもに開催されている。

また平野は、千里セルシー（大阪府吹田市）にある映画館「千里セルシーシアター」の支配人から本番組に届いたメッセージをきっかけに、2003年から不定期で同館の一日館長を務めてきた。館長を務める日の前後には、シネマグランプリ（前述）に選んだ作品など、平野お勧めの映画を2本立てで上映。館長を担当する日には、平野によるトークイベントも開かれた。

番組存亡と生き残り策

番組初期にはリスナーからの投書がなかったため、とにかく番組を盛り上げようと、他番組への投稿を拝借し「本番組宛ての投稿」として読み上げていた。また、かつて催された公開イベントにおいて、関連業界向けに番組の好印象と認知度を上げようと画策。平野がイベントの来場者に対して、会場近くにある企業のショールームに行ったうえで、展示中の商品を絶賛するように指示を出したことがあった。

本番組では、朝日放送が出資する映画に対しても、「出資しているからこそ」とのスタンスであえて批判することがあった。その際には、会社上層部が放送を聴いていない事を願いながら、上層部に向けて番組を賛辞する投稿を紹介していた。

番組開始当初は確かに「お兄さん、お姉さん」であった平野・鳥居の両名も、放送の経過と共に、「おっさん、おばはん」と呼ばれる年齢に到達。それにつれて、「リスナーとの間で、映画の見方が少しずつ乖離しているのではないか？」と、放送やイベントで一抹の憂いを示すようになった。

平野は、職業柄キナ臭い情報にも接することから、「迂闊な事を喋れば番組ごと抹殺される」と吐露。インタビューの際に、インタビューイが放送できないような裏話を言った場合には、「恐ろしくて放送で流せない」と呻きながら編集で泣く泣く該当コメントをカットしていた。リスナーに確実に受けるネタを仕入れても、伊藤ディレクターへの事前確認で「（放送）出来んに決まっとるやろ。何を言うとるんや、お前大丈夫か」と真顔で制されたために、放送でそのネタを封印したこともある。

関西ディレクター大賞特別賞を受賞した際にも、受賞によって初めて存在を知ったという社員がいたほど、朝日放送の社内における本番組の知名度は低かった。そこで平野は、数週にわたって受賞報告を告知。この結果、「平野君、頑張ってくれたまえ」と、同局の社長直々に握手を求められるまでになった。もっとも、平野が放送でその顛末を語っても、鳥居は「まだ言うてるで」と雑に扱っていた。公開イベントにおいて、番組の存在を社にアピールすべく、来場者全員で同局の社屋に向かって手を振るよう平野が指示を出したこともある。

平野の降板と番組の終了

近年は、番組改編直後の放送で、平野が改編を無事に乗り越えたことを報告、聴取者らに向け感謝の言葉を送るのが恒例になっていた。放送開始時間が深夜2時から3時に繰り下げられた2008年の途中からは、早朝番組に近い番組と化したため、平野・鳥居ともリスナーの番組離れを危惧。それまで生放送で聴取していたリスナーからも、予約録音に切り替えるなどの対応を取る。その一方で、早朝に目が覚める年齢層がリスナーに加わったため、ニューカマーに向けて番組をアピールするようになる。

2009年7月4日の放送で平野が「充電期間に入る」との理由で降板。同年7月11日の放送からは、26時開始の30分番組として鳥居1人で3ヶ月間パーソナリティを務め、同年10月3日の放送を最後に、レギュラー番組としての放送を一時終了し、特別番組として月一回放送の継続を発表。以後、ABCラジオの公式サイト内「メール＆お便り」では、レギュラー放送終了直後から本番組を「終了した番組」と告知。

阪神タイガース戦の結果如何によって直前まで放送の有無が不明だったが、2009年10月に『ABCアシッド映画館スペシャル』として平野が3ヶ月ぶりに復活。放送するにあたり枠内で許す限りの映画紹介を行うという慌しい放送となった。公式アナウンスでは概ね月1回のペースで土曜日の21時台（特別番組枠）に放送するとされたが、11月放送分はスケジュールの都合で平野が欠席、再び鳥居一人での30分番組となり番組内で存続が全くの白紙である事を鳥居が打ち明けた。新作映画の紹介と、鳥居による映画関係者へのインタビューを中心に放送、このスペシャルとしての2回目の放送を最後に12月分の放送は行われず、年末恒例シネマグランプリの公募も開催も行われなかった。結果的に16年8か月の放送に幕を下ろした。

ABCの放送においてアナウンスも無く、パーソナリティ本人らによる告知も無く、同年12月中頃、番組公式サイトにてサイトの閉鎖を告知。これにより自然消滅に近い形で途絶える事となった。

関連項目

• 誠のサイキック青年団 - 平野や板井が出演していたラジオ番組。2009年3月に終了。
• ありがとう浜村淳です - 関西での元祖映画紹介ラジオ番組
• ごめんやす馬場章夫です - 同番組の音声が映画「お父さんのバックドロップ」に登場したことで、鳥居が「初映画出演」を果たした。

関連人物

• クエンティン・タランティーノ - ジングル内の"Original sound drag ABC ASID CIMEMA Super cool radio！"は実声を使用。音声クレジットについては、タランティーノサイドに露見すると権利が発生する可能性があるので、あまり公にできないとのこと（番組内での平野の発言より）。
• 森田芳光
• トニー・ジャー - 映画「マッハ!!!!!!!!」の公開キャンペーンで来日、来阪。トニーの過剰なまでのサービス精神の旺盛さに平野が感激。番組ジングルにおいて実声を使用。公開前のインタビュー時に収録したものであるがマイクが近く大声であった為に音割れを起こしている。
• 堤幸彦 - レギュラー放送の最終回で、事前収録されたレギュラー放送を惜しむコメントが放送された。
• 浜村淳 - 感情の篭った語り口と詳細な映画説明で、映画の結末まで滔々と語る、関西映画批評ラジオ番組の重鎮。
• 藤本義一、古川嘉一郎、平山泰代 - 番組リスナー
• 山田真哉- 山田の著書『さおだけ屋はなぜ潰れないのか? 身近な疑問からはじめる経済学』（光文社、2005年2月16日、ISBN 4-334-03291-5）に平野の「エイリアン2を74回観た」というエピソードを具体的な数字を使い印象に残る一例として取り上げている。学生時代にリスナーであったことを公言。

関連書籍

• レッツ!ゲスシネマ　（平野著、青心社、1997年11月、ISBN 4-87892-134-X）
• 関西ウォーカー　（カドカワ）　平野執筆"銀幕魂"コラム連載中。

外部リンク

• アシッド映画館 - 番組公式サイト。閉鎖（2009年11月14日時点のアーカイブ）
• 誠のサイキック青年団 - 「誠のサイキック青年団」公式サイト。閉鎖（2009年2月28日時点のアーカイブ）

ABCラジオ 土曜26時（日曜2時）前半枠
前番組	番組名	次番組
?	ABC acid movie theater	Club JONR (2時間枠)

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