[From June Issue 2011]
Arigato (Directed by MANDA Kunitoshi)
This feature film is based on real events that took place following the Great Hanshin-Awaji Earthquake of 1995. The story unravels around FURUICHI Tadao, a senior professional golfer, and the strength of his family’s bonds as the city and its people tried to recover from the devastation. The educational value of the film’s subject matter was approved, and it was eventually chosen as one of the Selected Works by, the Japanese Ministry of Education, Culture, Sports, Science and Technology (MEXT). It was first released in 2006.
On January 17 at 5:46 am, a big earthquake rocked Furuichi Cameras, one of the many shops sitting along the Nagata-ku shopping avenue in Kobe, Japan. Furuichi Tadao and his wife and two daughters were fast asleep in the residential part of his shop. Once the severe jolts stopped, Tadao and his wife quickly verified their family’s safety. Meanwhile, the arcade covering the shopping avenue had collapsed, as so too did many shops and houses around them.
The fire that broke out in the distance gradually approached the shopping avenue like sea of flames. Confusion gripped the neighborhood as people just stood there panic-stricken – some pushed others aside while they ran for their lives, while others tried to rescue those desperately in need. Tadao, a member of the local fire fighting squad, instructed his wife and daughters to evacuate while he and his squad members tried to rescue people, pulling them out from beneath the rubble.
At a mass funeral nineteen days later, Tadao proclaimed to everyone in attendance that “The earthquake was no one’s fault. Natural disasters happen. We must rebuild the city to be more disaster-proof. That is what we can do on behalf of all the people who lost their lives.” Tadao then started to help the people rebuild their city.
Two years later, the Furuichi family has resumed their lives in a new house. But rather than work, Tadao continues to help rebuild the neighborhood, while relying on his wife and daughters to support their family. Finally, his wife implores him to “start thinking about ‘restoring’ his family,” after which he shows her one of the only things to have survived the fires – a golf bag. Passionately he tells her, “God left me this for a reason. So now, I’m going to become a professional golfer.”
The professional golf certification exam is extremely competitive. Usually, only 50 out of 1,800 applicants pass, with most of those still in their 20’s. At close to 60, the odds of Tadao turning pro were extremely slim. But he didn’t give up and trained vigorously. His wife tells him that while she doesn’t agree with his decision, neither will she stand in his way. But quietly she keeps watch over him.
Eventually Tadao makes it to the final round. He tells himself to “make a miracle,” as he heads onto the green. At the final hole, a problem occurs as his ball lands in the woods, but taking his caddy’s advice Tadao hits a miraculous shot to fulfill his destiny of becoming a professional golfer. He calls his wife to tell her the good news, but she just dryly replies: “good for you, but our phone bills are expensive, so I’ll hang up now,” after which she quietly starts to cry.
[2011年6月号掲載記事]
ありがとう（万田邦敏 監督）
1995年に発生した阪神淡路大震災から生まれた実話が原作。現在もシニアプロゴルファーとしてツアーに参戦している古市忠夫を中心に、震災から立ち直る人々や街の様子、そして家族のきずななどが描かれている。教育上の価値が認められ、文部科学省選定作品に選ばれた。公開は2006年。
1月17日、午前5時46分。神戸市長田区の商店街にある「古市カメラ」を大きな揺れが襲う。住居も兼ねている店では、主人公の古市忠夫と妻、二人の娘が寝ていた。激しい縦揺れが収まると、忠夫は家族の無事を確認する。商店街のアーケードは崩れ、周りの店や家も倒れている。
遠くの方で上がった火の手が、波のように商店街に押し寄せる。呆然と立ちつくす人、他人を押しのけて逃げ出す人、そして、他人を助け出そうとする人で、商店街は混乱する。消防団員でもある忠夫は妻に娘たちと一緒に避難するよう言い、団員仲間たちと救助に向かう。忠夫たちは崩れた家の下敷きになった人を助け出す。
震災から19日後、犠牲者の合同葬儀が行われる。そこで忠夫は参加者たちに誓う。「地震は誰のせいでもない。天災は必ず起こる。起こっても、耐えられる街をつくらなくては。災害に強い街をつくる。それが、亡くなった人たちへのわしらの務めだ」と。こうして忠夫は、街の人たちと協力して、震災に耐えられる街づくりに取り組む。
やがて震災から2年が経ち、古市家も新居での生活を始めている。しかし、忠夫は仕事をせず街の復興に駆け回るばかりで、生計は妻や娘たちの稼ぎで成り立っている。妻に「この家の『復興』も考えて」と頼まれるが、忠夫は震災で唯一、焼け残ったゴルフバッグを見せる。「神様がこれを自分に残してくれた。自分はプロゴルファーになる」と意気込む。
プロテストは1,800人が受けて50人しか受からないほど難しく、合格者のほとんどが20代の若者だ。間もなく60歳になる忠夫が合格することは不可能に近い。だが、忠夫は地道にトレーニングを続ける。妻も、応援しないと言いながらも反対はせず、夫を静かに見守る。
忠夫は最終テストまで残る。「奇跡を起こせ」と自分に言い聞かせてグリーンに向かう。最終ホールでは林の間にボールが落ちるアクシデントに見舞われるが、キャディーのひと言で奇跡的なショットを放つ。そして、プロテストに合格する。妻に電話で知らせると、「良かったわね。電話代がもったいないから切るわよ」と素っ気ない。しかし、受話器をおいた妻は、静かに涙を流すのだった。
[From May Issue 2011]
The Yellow Handkerchief (Directed by YAMADA Yoji)
This is director YAMADA Yoji’s film adaptation of a New York Post newspaper column written by American journalist Pete HAMILL. It was awarded the 1977 First Japan Academy Prize for Best Picture, Best Director and Best Actor in a Leading Role, among several others. The actual movie location is still preserved and the leading character’s red car can be seen on exhibit in Yubari, Hokkaido. In 2008 the movie was remade independently starring William HURT.
Kinya, who is disappointed with love, quits his job and buys a red car with his retirement money, in which he takes a ferry ride to Hokkaido. There, he unexpectedly meets Akemi with whom he enjoys a drive down to the beach. Upon their arrival, they ask Yusaku, a recent ex-convict, to take their photo. After doing so, he joins them on their ride.
They invite Yusaku, who has no immediate plans, on a trip to a hot spring. Slowly, the rashness of Kinya’s character comes to light while Akemi gradually becomes more talkative. Conversely, Yusaku seems reticent and preoccupied by something. Accidentally, Kinya and Akemi are given the same room in which he makes a pass at her, unsuccessfully. Akemi resists and starts crying. Yusaku then enters to scold Kinya for his actions.
Although they quarrel, the three continue traveling together. A few days later, Kinya gets attacked by a lowly thug, but the three escape by car with Yusaku driving. However, they are soon stopped at a police check point where it was discovered that Yusaku doesn’t have a driver’s license and that he also just got out of prison. Finally, Yusaku explains his past.
Yusaku used to work in a coal mine and had a wife named Mitsue. When she had a miscarriage, he became very distraught, started to drink heavily, eventually fighting with and killing a man. For that, he was imprisoned. A few days before the end of his six-year sentence, he wrote to his estranged wife. His message was simple: “If you will take me back, please hang a yellow handkerchief from the pole in front of our house.”
Kinya and Akemi decide to help a fearful Yusaku find out her answer by taking him to Yubari. Once there, on a high pole in front of the house that Yusaku and his wife once shared, they see dozens of yellow handkerchiefs all fluttering in the breeze. As he walked towards the house from the car, he sees Mitsue waiting for him. Then, with tears rolling down her cheeks, she helps him with his bag, as the film comes to an end.
[2011年5月号掲載記事]
幸福の黄色いハンカチ（山田洋次 監督）
アメリカ人ジャーナリスト、ピート・ハミルによるニューヨーク・ポストのコラムを山田洋次監督が映画化した。1977年に公開され、第1回日本アカデミー賞の最優秀作品賞や最優秀監督賞、最優秀主演男優賞などを受賞した。北海道夕張市では撮影現場が保存され、主人公たちが使った赤い乗用車も展示されている。2008年にはウィリアム・ハート主演でリメイク版が作られた。
失恋した欽也は仕事を辞め、退職金で買ったばかりの赤い乗用車をフェリーに乗せ、北海道へ旅立つ。そこでたまたま声をかけた女の子、朱美と一緒にドライブを楽しみながら海岸にたどり着く。その場に居合わせた、刑務所を出たばかりの勇作に写真を撮ってもらったことがきっかけで、二人は勇作を同乗させる。
行き先を決めていないという勇作を、二人は温泉に誘う。お調子者の欽也と、次第に打ちとけておしゃべりになる朱美。一方の勇作は、あまり多くを語らず、何かを悩んでいる様子だ。温泉宿でたまたま欽也と朱美が同室になり、欽也は一方的に朱美を口説こうとするが、抵抗されたあげくに泣かれてしまう。隣室の勇作が現れ、欽也を叱りつける。
けんかをしながらも、3人は旅を続ける。数日後、欽也は駐車場でチンピラ風の男に殴られるが、勇作が助けに入り、そのまま勇作の運転で3人は逃げ去る。しかし、たまたま警察の検問で止められ、勇作が無免許で刑務所から出所したばかりであることがわかる。そして、勇作は自分の過去を語り始める。
炭坑夫だった勇作には、光枝という妻がいた。あるとき、光枝の流産がもとでやけを起こし、酒に酔って街でけんかをして相手を殴り殺してしまったことが服役していた理由だった。そして6年の刑期を終えて出所した数日前、服役中に別れた妻、光枝に手紙を出していた。「俺を待っていてくれるのなら、家の前の竿に黄色いハンカチをぶらさげておいてくれ」と。
しかし、最後までそれを確かめる決心がつかない勇作を、欽也と朱美が背中を押して3人で夕張に向かう。すると、かつて光枝と暮らした家の前の高い竿に、何十枚もの黄色いハンカチが風にはためいていた。車を降りて家に向かう勇作の前には光枝が待っていた。涙でほおをぬらしながら光枝は勇作のかばんを受け取り、映画は終わる。
[From April Issue 2011]
Lupin III Episode 0: First Contact (Directed by OHARA Minoru)
Lupin III was originally based on an action-manga magazine serial that ran for about two years starting in 1967. It was then turned into an animated TV series years later, at which time the magazine resumed publishing as an accompaniment. Though comical, the Lupin III series are well-liked by all generations for the characters’ philosophies and style.
Monkey Punch, the writer of Lupin III, was inspired by Maurice LEBLANC’s “Arsène Lupin.” The series’ main character is supposed to be the original character’s grandson. He steals treasures all over the world and is hunted for by each country’s police forces. Millionaires and crime organizations want him dead. But he really isn’t a treasure hunter or collector. His raison d’être is in the art of the steal.
This program was specially broadcast in 2002. It tells of how four characters encountered one another: Lupin III, who is nimble and good with disguises, but also easily excitable with a weakness for beautiful women; JIGEN Daisuke, quiet and stubborn, but a crack shot; ISHIKAWA Goemon, a master fencer, who is a direct descendent of ISHIKAWA Goemon, a historically famous Japanese thief and, MINE Fujiko, the beauty who uses men to get money and jewels. Inspector ZENIGATA also makes an appearance as he attempts to incessantly track them all down.
The setting is New York City. At the request of a female journalist, Jigen begins to recount his encounter with Lupin. It happened while he was working as a bodyguard for the mafia boss, Galvez. Jigen spotted Lupin sneaking into Galvez’s residence to steal an unbreakable metal tube harder than diamonds. A shootout ensued and Lupin gave up, fleeing without it.
Later on, Fujiko, who is being pursued by Japanese police, successfully steals the tube with her boyfriend Brad. However, now she needs the “key” to open it. Brad is then killed by one of Galvez’s men. So, she uses Lupin to get it for her. Meanwhile, Inspector Zenigata and Goemon finally arrive in New York. Zenigata is after Fujiko while Goemon is searching for a special, steel-cutting sword.
It turns out that the sword that Goeman is after is the key to cutting open the tube. Contained within the tube are instructions detailing how to reproduce the metal’s indestructible formula. The four come into contact with one another as enemies who are all seeking the same treasure. Initially, they deceive and try to kill each other, eventually having no other choice but to join forces in order to bring down the Galvez gang while eluding Zenigata and the New York Police Department.
As Jigen finishes his story, Goemon, Fujiko and another person also named Jigen all arrive on the scene. It seems that the person the journalist was talking with was really Lupin in disguise. Quickly, the four disappear before the story’s veracity could be checked. The journalist then looks back onto the Federal Reserve Bank, where the four thieves are trying to break in, with Zenigata in hot pursuit, as the film ends.
[2011年4月号掲載記事]
ルパン三世 EPISODE ０：ファーストコンタクト（大原実監督）
原作は、1967年から約2年間、漫画雑誌に連載されたアクション漫画。数年後にテレビアニメ化され、それに合わせて漫画連載も再開された。コミカルながら、主人公たちの美学や流儀が描かれ、子どもから大人まで幅広い年齢層から支持されている。
原作者モンキー・パンチは、モーリス・ルブランの「怪盗ルパン」をヒントに作品を生み出した。主人公のルパン三世は、アルセーヌ・ルパンの孫という設定で、世界中で財宝を盗み出し、各国の警察から追われ、大富豪や犯罪組織から命を狙われている。しかし、財宝そのものより、いかに鮮やかに盗み出すかに魅力を感じている。
本作は、スペシャル番組として2002年にテレビ放映された。身軽で変装術に長けるがお調子者で美女に弱いルパン三世、もの静かで頑固な性格ながら超一流の拳銃使い次元大介、日本史に名を残す盗賊・石川五右衛門の子孫で剣豪の石川五ェ門、男を利用して金や宝石を手に入れる美女・峰不二子の４人の出会いが描かれている。彼らを追い続けることになる警視庁の銭形警部も登場する。
舞台はニューヨーク。女性記者に頼まれた次元が、ルパンとの出会いを語り始める。それは、次元がマフィアの親分ガルベスの用心棒をしていた頃のことだった。ガルベス邸に潜入し、ダイヤモンドよりも硬い金属製の筒を盗もうとしたルパンは、次元に発見される。二人は撃ち合うが勝負はつかず、ルパンは筒をあきらめて逃げる。
その後、日本の警察から追われていた不二子が、ボーイフレンドのブラッドと組んで筒を盗み出す。だが、筒を開けるには「鍵」が必要だった。ガルベスの手下にブラッドを殺された彼女は、ルパンを利用して鍵を盗ませる。そんななか、銭形警部と五ェ門がニューヨークにたどり着く。銭形は不二子を追い、五ェ門は、鋼鉄でも斬れるという斬鉄剣を追い求める。
鍵とは筒を斬るための刀であり、それこそが五ェ門が探し求める斬鉄剣であることが明かされる。そして、筒の中にはその金属の作り方が記された巻物が入っている。同じ財宝を求めて4人は敵として出会う。だまし合い、命を奪い合おうとするが、ガルベス一味を倒し、銭形とニューヨーク市警から逃れるため、協力し合うことになる。
こうして昔話を終えた次元の前に、五ェ門、不二子、そしてもう一人の次元が現れる。記者に話をしていたのは、次元に変装したルパンだったのだ。記者が話の真意を確認する間もなく、4人は姿を消す。記者が振り向いた先には連邦準備銀行がある。その銀行を襲う4人と、彼らを追う銭形の姿が映し出され、映画は終わる。
[From March Issue 2011]
Calmi Cuori Appassionati [Between Calmness and Passion]
(Directed by NAKAE Isamu)This feature film was adapted from the 1999 bestselling novel of the same name. TSUJI Hitonari and EKUNI Kaori ran alternating stories in a monthly magazine, from the points of view of a man and woman in a relationship together. TAKENOUCHI Yutaka and Hong Kong actress Kelly CHEN starred in the 2001 movie version. The film was shot in Tokyo, and in the Italian cities of Florence and Milan. The screenplay was a mixture of three languages – Japanese, English and Italian, effectively portrayed by the cast of characters.
AGATA Junsei is apprenticing at a workshop in Florence, Italy, hoping to become a fine art restorer – a Restauro. Recognizing his talent, his master entrusts him with restoring a Cigoli painting. His life, and his relationship with Japanese exchange student Memi, seems to be going perfectly. However, in his heart he still has feelings for his ex-girlfriend, Aoi.
One day, Junsei finds out that Aoi is in Milan. He goes to see her, only to find out she has a boyfriend named Marvin. She tells Junsei: “I’m over the past. I’m happy now.” Heart-broken, Junsei sadly returns to Florence. There, he learns that someone had sliced through the Cigoli painting. Without any suspects, the workshop is temporary closed. Depressed, Junsei returns to Japan.
Junsei and Aoi had attended the same college, where, at the time, she was an exchange student from Hong Kong. For some reason, Junsei was attracted to this lonesome girl, and soon an intimate relationship developed where they understood each other’s feelings, even when silent. One day Aoi suggest that they promise to climb to Florence’s Duomo cathedral together, on her 30th birthday, in 10 years time. But soon after making their promise, they broke up.
While the criminal who damaged the painting has not yet been found, the workshop reopens. Junsei, unable to let go of his feelings for Aoi, breaks up with Memi and returns to Florence. On Aoi’s 30th birthday he climbs alone to the top of the Duomo. Aoi also arrives, and they end up spending the night together in each other’s arms. But Junsei, who believes that Aoi is still with Marvin, regrets their reunion.
Meanwhile, as Aoi leaves his apartment, she tells him how grateful she is that he was a part of her life. After she’s gone, he realizes that Aoi is no longer with Marvin. He then jumps on to the next express train for Milan to catch up to her. On the Milan-bound train Aoi cries, but then sees Junsei looking for her on the station platform, smiling and waving. Relieved, Aoi returns his smile as the film comes to its end.
[2011年3月号掲載記事]
冷静と情熱のあいだ（中江 功 監督）
1999年に出版されベストセラーとなった同名恋愛小説が原作。辻仁成と江國香織が月刊誌に交互に連載し、一つの物語を主人公の男女それぞれの視点からつづっている。竹野内豊と、香港出身のケリー・チャンが共演し、2001年に公開された。撮影は、東京のほか、イタリアのフィレンツェとミラノで行われ、出演者や役柄に合わせて日本語、英語、イタリア語の3ヵ国語の台本が用意された。
阿形順正は、絵画の修復士を目指し、イタリア・フィレンツェの工房で修業している。工房の師匠からその才能を認められ、チーゴリの絵の修復を任される。日本人留学生の芽実という恋人もいて、生活は順調に見える。しかし、彼はかつての恋人、あおいが忘れられずにいた。
ある日、あおいがミラノにいると聞いた順正は彼女に会いにいくが、彼女にはマーヴという恋人がいることを知る。「昔のことは忘れたわ。幸せに暮らしてるわ」と言われ、彼はみじめな気持ちでフィレンツェに帰る。すると、修復中のチーゴリの絵が何者かによって切りさかれる事件が起きたことを知らされる。犯人はわからず、工房は一時的に閉鎖される。沈んだ気持ちで順正は帰国する。
順正とあおいは、かつて同じ大学に通っていた。香港からの留学生で、いつも一人ぼっちのあおいに順正はなぜかひかれ、いつしか何も話さなくても気持ちが通じ合う恋人同士になっていた。あるとき、あおいの提案で、10年後、彼女が30歳になる誕生日にフィレンツェの大聖堂ドゥオーモに一緒に登る約束を交わす。だが、やがて二人は別れてしまう。
チーゴリの絵を切りさいた犯人は見つからないまま、しばらくして工房は再開される。あおいに未練のある順正は芽実と別れ、一人フィレンツェに戻る。そして、あおいの30歳の誕生日に一人でドゥオーモに登る。そこへあおいも現れ、二人は一夜をともにする。だが、彼女がまだマーヴと付き合っていると思っている順正は、再会を後悔する。
一方のあおいは、順正に出逢えたことを感謝していると言い残して彼のアパートを去る。その直後、順正は彼女がマーヴとすでに別れていたことに気づく。彼は慌ててミラノ行きの高速列車に飛び乗り、あおいを追いかける。車中で涙を流しミラノに戻ったあおいは、駅のホームで順正の姿を見つける。順正は微笑み、手を振る。安心した表情を見せるあおいも笑みを返し、映画は幕を閉じる。
[From February Issue 2011]
Always: Sunset on Third Street (Directed by YAMAZAKI Takashi)
This movie is set in the middle of Tokyo in 1958 (33rd year of the Showa era) when Japan was in the midst of its rapid economic growth. It was the age when the despairs of war had finally worn off and society began to shift toward convenience. The film portrays the common people who supported each other as they strived to live each day with hopes and dreams for a happy future. This motion picture won many awards including the Picture of the Year and Director of the Year awards for the 2006 Japan Academy Prize. Later, in 2007, the sequel was also produced.
The construction of the Tokyo Tower is underway amid the nation’s ambition for it to become the world’s tallest. People and products are abundant here in downtown Tokyo where, located on one of its street corners, is “Suzuki Auto.” Mutsuko, who came to the big city following the promise of mass employment, is disappointed that her place of work is such a small automobile repair shop. However, while working as a live-in employee, she gradually discovers that the owner, his wife, and their son Ippei, are all very touching people, and her mood starts to change.
Across the street from “Suzuki Auto,” CHAGAWA Ryunosuke, who dreams of becoming a novelist, runs a candy shop while also writing stories for boys’ magazine. One night, Hiromi, the mysterious and beautiful local bar owner, asks Chagawa to “look after an acquaintance’s boy.” He agrees to watch the boy named Junnosuke just because this beautiful woman has sweetly promised to “come to check on him sometimes.”
Although still struggling, Chagawa grows happier inside as he spends more and more time with both Hiromi and Junnosuke. He even borrows some money from Suzuki to buy Junnosuke a Christmas present. Then he asks for Hiromi’s hand in marriage. But his happiness does not last long as Hiromi suddenly closes the shop and disappears. Soon after, some company president arrives declaring to be Junnosuke’s real father, and claims guardianship of his illegitimate child.
“He is a wealthy man. He’ll buy you anything. I’m so glad I’ll finally get rid of you, you’re such a serious pain in the neck,” Chagawa says with false bravado to Junnosuke, who silently climbs into his father’s car. Chagawa, realizing just how important a part of his life Junnosuke has become, rushes after the fast moving car, but tumbles down. But Junnosuke soon returns and they embrace each other tightly as tears stream down both their faces.
Hiromi, who has returned to work as a dancer to pay off her debt, is waiting on the rooftop of the theater to appear on stage. She holds up her hand against the glare of the setting sun, imagining the ring Chagawa promised her he would someday buy. The Suzuki family drops off Mutsuko at the train station where she will travel to meet her family for the New Year’s celebration. On their way home, the Suzuki family stops by the riverbank to admire the sunset. “The sunset will always be beautiful; even tomorrow, and the day after, and even 50 years from now,” Ippei says to his parents, who agree. The sunset softly washes over the family, with the freshly completed Tokyo Tower in the background, as the film comes to an end.
[2011年2月号掲載記事]
ALWAYS 三丁目の夕日（山崎貴 監督）
高度経済成長期にあった昭和33年（1958年）の東京が舞台。戦争が終わり、世の中が便利になるなかで、将来に夢や希望をもち、お互いが助け合って暮らしていた当時の人々の日常が描かれている。2006年の日本アカデミー賞では、最優秀作品賞や最優秀監督賞などを受賞し、2007年には続編も製作された。
世界一の高さを目指し、東京タワーの建設が進んでいる。人やものがあふれ活気づく東京の下町に「鈴木オート」がある。そこへ、田舎から集団就職で六子がやってくる。就職先が小さな自動車修理工場だと知って初めは落ち込むが、住み込みで働くうち、社長やその妻、彼らの息子、一平といった鈴木家の人々の情に触れ、元気を取り戻す。
鈴木オートの向かいには、少年向け雑誌に原稿を書きながら小説家を志す茶川竜之介が駄菓子屋を営んでいる。茶川はある晩、居酒屋を経営するなぞの美女、ヒロミから「知り合いの子をしばらく預かってほしい」と頼まれる。「時々、様子を見に行く」という彼女の甘い言葉に押され、彼は淳之介と名乗るその少年を引き取る。
ヒロミや淳之介と出逢い、茶川は貧しいながらも幸せを感じる。鈴木社長に借金をして淳之介にクリスマスプレゼントを贈る。親しくなったヒロミにはプロポーズをする。だが、そんな生活も一変する。ヒロミが突然、居酒屋を閉め姿を消す一方で、淳之介の父親を名乗る会社社長が現れ、愛人との間にできた淳之介を引き取りたいと申し出る。
「お金持ちの家だぞ。何でも買ってもらえるぞ。俺もやっかいごとが減って大助かりだよ」と強がり、茶川は淳之介を追い出す。淳之介は父親の車に無言で乗り込む。すぐに淳之介の大切さに気づいた茶川は、走り去る車を慌てて追うが、転んでしまう。そこへ淳之介が戻ってくる。二人は涙で顔をぬらして抱き合う。
借金を返すため、踊り子に戻っていたヒロミは劇場の屋上で出番を待っている。夕日に手をかざし、茶川がいつか買ってあげると約束した指輪を想像する。鈴木家は、年明けを実家で過ごす六子を駅まで送った帰り、川原で夕日に見とれる。「明日だって、明後日だって、50年先だって、ずっと夕日はきれいだよ」と言う一平に、両親は賛同する。夕日が彼ら親子と完成したばかりの東京タワーを優しく照らし、映画は幕を閉じる。
[From January Issue 2011]
Dragon Ball: The Path to Power (Directed by YAMAUCHI Shigeyasu)
Originally created by TORIYAMA Akira, Dragon Ball is an adventure-story manga that ran in a weekly manga magazine for nearly a decade, starting in 1984. In 1986, Dragon Ball was adapted as an animated TV series, as well as into film. This work was the 17th and final film in the series and released in 1996. In 2009, a Hollywood live-action version was also made.
Son Goku is a boy with a monkey tail who lives deep in the mountains. His grandfather, Son Gohan, taught him kung fu, giving Goku superhuman skills with matching powers. The story opens with Goku living alone after his grandfather has passed away. He continues to lovingly treasure the orange ball his grandfather left him. Then one day, he is visited by a girl calling herself Bulma.
Bulma is seeking the seven orange balls, called “Dragon Balls,” of which she already has two. Goku’s ball is one of them and she explains to him that “when you collect all seven of the Dragon Balls and chant a spell, Shen Long (the Eternal Dragon) appears to grant you a wish, but only one.” Goku refuses to give up his Dragon Ball, but agrees to accompany Bulma on her quest as a part of his training.
Using Bulma’s “Dragon Radar” the two search for the remaining Dragon Balls. Soon after, Oolong, a pig with the power to transform into other animals and objects but only for five minutes, joins their troupe. The threesome fight various enemies including Yamcha the kung-fu bandit and his accomplice Puar, and the notorious Red Ribbon Army. Goku uses his “Nyoi Bou” red fighting stick and his kung fu skills to defeat the barrage of enemies.
When Goku and his team help a tortoise that was lost in the mountains, find its way back to the seashore, the turtle hermit Master Roshi, an elderly man who lives with the tortoise, appears in front of them. They learn that this hermit is Gohan’s kung fu master. And, to show his appreciation for them helping his turtle, he gives them the flying cloud “Kin-Ton-Un (Flying Nimbus).” Everyone tries, but only Goku succeeds in riding the flying cloud, something only the pure-hearted can do. Goku then also quickly masters the “Kamehameha” (the Turtle Devastation Wave), which took Master Roshi over 50 years to develop.
By now, Bulma has collected four of the seven Dragon Balls. But, during a battle, when Goku is knocked unconscious, the enemy seizes them all. Bulma and her friends are then taken hostage. After regaining consciousness, Goku tries to fight an army-controlled robot. But he is no match for it and is knocked unconscious again.
Soon after, Android #8, nicknamed “Eighter,” whose life Goku has saved before, comes flying to his side. Eighter sacrifices himself to save Goku. Regaining consciousness once again, Goku defeats the robot using the “Kamehameha.” They finally retrieve all the seven Dragon Balls and then Shen Long appears. Goku’s wish is to “bring Eighter back to life.” So Shen Long replies, “It shall be so,” as the movie comes to an end.
[2011年1月号掲載記事]
ドラゴンボール 最強への道（山内重保 監督）
原作は鳥山明が1984年からおよそ10年間、週刊漫画雑誌に連載していた冒険物語。1986年にはテレビアニメ化と同時に映画化も始まった。この作品は、1996年に公開された17本目の映画で、シリーズ最終作品にあたる。また、2009年にはハリウッドで実写映画化された。
ある山奥に、しっぽの生えた孫悟空という名の少年が住んでいる。悟空は祖父、孫悟飯からカンフーを教わり、人並み外れた力と技をもっている。すでに悟飯は亡くなり、悟空は一人で暮らしているところから物語は始まる。悟空は、祖父からさずけられたオレンジ色の球を大切にしている。そんな悟空のもとへ、ブルマと名乗る少女が現れる。
ブルマは「ドラゴンボール」というオレンジ色の球を7つ集めようとしており、すでに2つもっている。悟空のもっている球も実はドラゴンボールで、「7つのドラゴンボールを集めて呪文を唱えると、龍の神様『神龍』が現れて、どんな願いでもひとつだけかなえてくれる」とブルマは言う。悟空は球をゆずることは断るが、修業のために彼女の旅に同行する。
二人は、ブルマのもつ探知機を使いドラゴンボールを探す。やがて、5分間だけ他の動物や物に変身できるブタのウーロンが仲間に加わる。3人は行く先々で、カンフーの使い手であるヤムチャと子分のプーアル、悪名高いレッドリボン軍など、あらゆる敵とたたかう。悟空は「如意棒」と呼ぶ赤い棒と得意のカンフーで次々と敵を倒していく。
山で迷子になっていたウミガメを悟空たちが海に返すと、ウミガメと暮らす老人、亀仙人が現れる。亀仙人はかつて悟飯にカンフーを教えた先生だったことがわかる。ウミガメを助けてくれたお礼に、亀仙人は「筋斗雲」という雲を差し出す。清い心の持ち主だけが乗れると言われて試すと、悟空だけが成功する。また、亀仙人が50年かけて身に付けた技「かめはめ波」も、悟空はすぐに覚えてしまう。
ブルマは4つのドラゴンボールを手に入れる。だが、悟空が敵にやられ意識を失ったすきに、ブルマのドラゴンボールは奪われる。ブルマたちは人質に取られ、意識を取り戻した悟空は敵の操るロボットにたたかいをいどむ。しかし、ロボットにはかなわず、悟空は再び気を失う。
するとそこへ、悟空が以前に命を救った「ハッチャン」こと人造人間８号が飛んで来る。彼は自らの命を犠牲にして悟空を助ける。再び意識の戻った悟空はかめはめ波でついにロボットを倒す。敵のもつドラゴンボールと合わせ、ようやく７つの球が揃うと、神龍が現れる。悟空が「ハッチャンを元通りに直してくれ」と叫ぶと、神龍は「承知した」と答え、映画は終わる。
[From December Issue 2010]
La Maison de Himiko [House of Himiko] (Directed by INUDO Isshin)
Released in 2005, this film is something of a comedic-drama that’s set in a gay senior home. In it, director INUDO Isshin, who also oversaw the fairy tale, romantic film “Josee, the Tiger and the Fish,” depicts various forms of love, including homosexual, heterosexual, married and parent-child love. Wearing ugly makeup and sporting freckles, popular actress SHIBASAKI Kou plays the daughter who was abandoned by her gay father.
Saori (Shibasaki Kou) is a clerk at a paint company, who contemplates turning to sex-work in order to repay her debts, when a young man named KISHIMOTO Haruhiko (ODAGIRI Joe) pays her a visit. He claims to be her gay father’s (YOSHIDA Teruo, a.k.a. “Himiko”) lover. She learns that her father, who ditched his family long ago, is suffering from terminal cancer, but she show’s no sympathy stating that “Whether that man’s got cancer and it’s terminal, doesn’t matter to me.”
Haruhiko then asks Saori if she’s interested in a part-time job. He offers her 30,000 yen a day to help out every Sunday at La Maison de Himiko, the gay seniors home that Himiko, her father, established. Tempted by the money, she visits the seaside establishment. Upon her arrival, she is shocked to find several odd people, including an elderly man wearing a dress and heavy makeup, who talks like a woman.
Saori is bewildered by being reunited with her father and feels her hatred for him grow even stronger. She reveals to Himiko that she is his daughter, and how she had to borrow money from relatives to pay for her mother’s operation and hospital stay, who eventually died of cancer. When he calmly says that he didn’t know, she yells at him, “Of course not. You are a total stranger!”
Saori keeps working at the home every Sunday, gradually accepting the gay residents who first disgusted her. She teaches the movements of a female anime character to Ruby, who wants to learn them to please his granddaughter. Wearing a Chinese dress, she also dances with Yamazaki who enjoys wearing women’s clothes. Then, all of a sudden, a company president who supports the home is arrested for tax evasion, putting the home’s future in serious jeopardy.
Before long, Saori becomes attracted to Haruhiko. He kisses her, but she knows that she cannot have a normal, romantic relationship with a gay man. While her father continues to weaken daily, she eventually confronts him about whether or not he ever missed her, or if he has any regrets about leaving her mother. “I won’t forgive you for what you did to Mom,” she says while glaring at Himiko, who murmurs in return, “I love you.”
Soon after, Saori quarrels with Haruhiko and the residents over a separate matter and quits her job. Immediately following her departure, Himiko dies. Then, one winter day several months later, the paint company where she works is asked by the home to paint over some graffiti on its wall. Saori accompanies the workers to the home, where the remaining residents all greet her with smiles. The film ends with a final shot of the message “WE WANT TO SEE SAORI” shown across the wall.
[2010年12月号掲載記事]
メゾン· ド· ヒミコ（犬堂一心 監督）
ゲイのための老人ホームを舞台にしたコメディードラマとして、2005年に公開された。ファンタジックな恋を描いた『ジョゼと虎と魚たち』の監督、犬堂一心が、同性愛や異性愛、夫婦愛や親子愛などさまざまな愛を描き出す。人気女優の柴咲コウがそばかすなどで不細工なメイクをほどこし、ゲイの父親に捨てられた娘を演じている。
塗装会社の事務員、沙織（柴咲コウ）は借金を返すために風俗で稼ごうかと迷っている。そこへ、岸本春彦（オダギリジョー）と名乗る若い男が現れる。彼は、かつて沙織と母を捨てたゲイの父・吉田照雄、通称「卑弥呼」の恋人だという。父が末期がんだと知らされるが、沙織は「あんな男、がんだろうが末期だろうが関係ない」と突き放す。
すると春彦は、突然沙織にアルバイトの話を持ちかける。卑弥呼が建てたゲイ専用の老人ホーム「メゾン・ド・ヒミコ」で毎週日曜日、1日3万円の給料で雑用係をしないかと。高給にひかれ、沙織は海辺に建つホームを訪ねる。だが厚化粧にワンピース姿で女性らしい言葉を使う老人男性などを目にして、沙織はショックを受ける。
父との再会で、沙織は戸惑い、父への憎しみが増すのを感じる。沙織は、自分が卑弥呼の娘であることと、がんで死んだ母の入院費用や手術代を親戚から借りたことを、卑弥呼本人に告げる。「初耳だわ」と冷静に答える父に、沙織は「当たり前でしょ。あんたなんか赤の他人なんだから！」とどなりつける。
日曜日ごとにホームに通うようになった沙織は、大嫌いだったゲイたちに少しずつ心を開いていく。孫娘のために少女アニメのキャラクターの振り付けを覚えたいというルビーに指導し、女装趣味の山崎とは一緒にチャイナドレスを着て踊る。そんな中、ホームを援助していた社長が脱税容疑で逮捕され、ホームの運営が危なくなる。
やがて沙織は、春彦にひかれる。春彦からキスされるが、ゲイである春彦とは、普通の恋人関係にはなれなかった。日に日に弱っていく父に、ある日、沙織は娘に会えずに寂しかったことや母を捨てたことへの後悔はないのか、と問いつめる。「あんたのこと、ママのために許さない」とにらむ沙織に、卑弥呼は「あなたが好きよ」とつぶやく。
そんな矢先、あることで沙織は春彦やホームの人たちと口論になり、ホームでの仕事を辞めてしまう。その直後、卑弥呼は息をひきとる。数ヵ月後の冬のある日、沙織の勤める塗装会社に、壁の落書きを消してほしいと、ホームから依頼がくる。作業員たちに同行した沙織をホームの人たちは笑顔で迎え入れる。そして、壁に書かれた「サオリに会いたい」の文字が映され、映画は終わる。
[From November Issue 2010]
Maboroshi no Hikari [Phantasmic Light] (Directed by KORE-EDA Hirokazu)
This motion picture was adapted from the novel of the same title, written by MIYAMOTO Teru, about a wife who overcomes her husband’s devastating death. It is the first feature-length film for the director, KORE-EDA Hirokazu, and was released in 1995. It is also the film in which fashion magazine model, ESUMI Makiko, launched her acting career. The film has received various national and international awards, including the Golden Osella award at the Venice Film Festival.
The protagonist Yumiko (played by Esumi), grew up regretting her feelings of helplessness that started when she was 12 years old and her grandmother went missing. Yumiko eventually married Ikuo (played by ASANO Tadanobu) and gave birth to their son, Yuuichi, but remained traumatized by her childhood incident. One day, Ikuo unexpectedly commits suicide and Yumiko is left devastated, without the slightest clue as to why he did it.
Five years later, Yumiko gets remarried to Tamio (played by NAITO Takeshi), who was a widower and lives with his only daughter Tomoko and his elderly father (played by EMOTO Akira) in a small village on the Noto Peninsula along the coast of the Sea of Japan. Tolerating the harsh winter’s cold, this new family of five start their tranquil lives together as Yumiko gradually gets to know the locals. Then, six months later, she returns to her hometown to attend her younger brother’s wedding ceremony.
During her stay, Yumiko stops by the apartment that she once shared with Ikuo. As she strolls down memory lane, passing a familiar coffee shop and the factory where Ikuo worked, her feelings towards her lost husband begin to resurface as she dwells on the question of why he committed suicide. Yumiko eventually returns home unable to shrug off these depressing feelings.
Tamio sees how Yumiko feels. However, Yumiko leaves the house still emotionally confused. She wanders around, heading toward the seaside. Tamio comes to her side where Yumiko confesses that she “still does not know why Ikuo killed himself.” Tamio shares with her, “Fishermen are lured into the sea. They see a beautiful light on the horizon. Probably everyone has a moment like that.” When spring finally arrives, there is new laughter in Yumiko’s family, as the movie comes to an end.
The park at night, the rainy street, and the village in winter with low clouds all convey the darkness in Yumiko’s heart. There is not much dialogue, and there are hardly any close-ups of any of the characters. This is a quiet piece of work that illustrates the process a person goes through in reclaiming, over time, the desire to live, while also gradually overcoming the grief of losing someone close.
[2010年11月号掲載記事]
幻の光（是枝裕和 監督）
夫の死を通して、妻が悲しみから立ち直るまでを描いた宮本輝の同名小説が原作。1995年、是枝裕和監督が劇場用長篇映画デビュー作として映画化。ファッション誌のモデルだった江角マキコが女優に初挑戦した作品。ヴェネチア国際映画祭など、国内外で数々の賞を受けた。
主人公のゆみ子（江角マキコ）は、12歳のとき、自分が引き止められずに祖母が行方不明になったことを悔やんだまま大人になった。郁夫（浅野忠信）と結婚し、勇一を産んでもそれはトラウマになっている。そんなある日、郁夫が何の前ぶれもなく自らの命を絶ってしまう。その理由が分からないまま、ゆみ子は途方に暮れる。
5年後、ゆみ子は、妻に先立たれた民雄（内藤剛志）と再婚する。民雄は日本海に面した能登半島の小さな村に、ひとり娘の友子と年老いた父親（柄本明）とともに住んでいる。厳しい寒さに耐えながら、5人はおだやかな生活を始め、ゆみ子も村の人たちとの付き合いに慣れていく。そして半年後、ゆみ子は弟の結婚式に出るため里帰りする。
そのついでに、ゆみ子はかつて郁夫と住んだアパートに立ち寄る。喫茶店や郁夫の働いていた工場など、思い出の場所を歩くうち、次第に亡き夫への想いがよみがえる。なぜ郁夫は自殺したのか － ゆみ子は再びそのことを考え始める。沈んだ気持ちを抱えたまま、ゆみ子は帰宅する。
民雄はそんなゆみ子の変化に気づく。だが、気持ちの整理がつかないゆみ子は家を出てしまう。呆然と歩き、海岸にたどり着く。そこへ、民雄が来る。「なぜ郁夫が自殺してしまったのか、いまだにわからない」と打ち明けるゆみ子に、民雄はこう答える。「漁師は海に誘われるそうだ。沖の方にきれいな光が見えるんだって。誰にもそんな瞬間があるんじゃないのか」と。やがて春が訪れると、ゆみ子たち家族に笑いが戻り、そこで映画は終わる。
夜の公園、雨に濡れる町、雲におおわれた真冬の村など、全体を通して、ゆみ子の心の闇を表すかのように、画面には光が差さない。台詞も多くはなく、登場人物たちの表情がアップになることも少ない。身近な人の死に直面しても、時の流れに身をまかせながら少しずつ生きる希望を取り戻していく過程が描かれた静かな作品である。
[From October Issue 2010]
Galaxy Express 999 (Directed by RIN Taro)
This film is based on the science fiction, manga masterpiece written and drawn by artist MATSUMOTO Leiji. It was serialized in manga magazine format for about four years starting in 1977, and was later adapted for an animated television series, a musical and has appeared in many other forms. The film was released in 1979, and was followed by two other movies.
The story is set on a future Earth, where the hero, HOSHINO Tetsuro, is a boy whose mother is murdered while they travel to Megalopolis. From there, wealthy people become cyborgs, gaining immortality along with mechanical bodies. Some cyborgs hunt humans for fun. One day, Tetsuro tries to steal from a passenger a pass for the Galaxy Express 999, a train that travels between planets, but fails. While fleeing from the police, he is rescued by Maetel, a mysteriously beautiful woman who is the spitting image of his dead mother.
“I want to get a mechanical body and live an eternal life and travel in the Sea of Stars forever,” Tetsuro tells Maetel, adding that he will also kill Count Mecha, the character responsible for his mother’s murder. But in order to accomplish all this, he needs to board the 999 to the planet where mechanical bodies are given away for free. Maetel offers Testuro a pass for the 999 if he travels with her. And this is how their journey begins.
Their first stop is Titan where they are attacked by bandits who kidnap Maetel. Given a gun by an old lady, Tetsuro sets out for the bandits’ lair. Antares, the bandit leader, returns Maetel after he finds out that Tetsuro is a human like him. Learning of Testuro’s plan to fight Count Mecha, Antares advises him to, “Shoot before being shot. If you hesitate or flinch, you are done for.”
Emeraldas, a female pirate whom Tetsuro meets during his journey, informs him that Count Mecha’s Time Castle is located on the planet Heavy Melder. While wandering around planet, Tetsuro meets up with Tochiro, the only son of the lady who gave him the gun. But Tochiro soon dies, having been severely weakened by years of fighting. The villains then suddenly appear and attack Tetsuro. But fortunately he is saved by the pirate Captain Harlock, Tochiro’s best friend.
After Testuro sneaks into Time Castle, Antares comes to his rescue. Antares then sacrifices his own life to save Testuro, who eventually kills Count Mecha. However, Tetsuro soon realizes that happiness is not just about living forever, and that one can work hard and be considerate and kind to others only when life is finite. With that in mind, he is determined to destroy planet Andromeda, where mechanical people are created.
Finally, Tetsuro and Maetel arrive on Andromeda where he learns that it is ruled by her mother. Tetsuro feels betrayed by Maetel, who cannot forgive her. With the help of Emeraldas and Harlock, they all destroy the planet and return to the Earth on the 999. Tetsuro bids farewell to Maetel, who sets out on another journey.
[2010年10月号掲載記事]
銀河鉄道999（りんたろう監督）
原作は、漫画家、松本零士の代表的なSF漫画として知られている。1977年から4年ほど漫画雑誌で連載され、テレビアニメやミュージカルなどジャンルを問わず取り上げられてきた。この映画は1979年に公開され、その後も続編が2本上映された。
近未来の地球が舞台。主人公は、メガロポリスに向かう途中に母を殺された少年、星野鉄郎。金持ちは機械の体とともに永遠の命を手に入れて機械人間になり、なかには貧しい人間を遊び半分に殺す者もいた。ある日鉄郎は宇宙の惑星を行き来する 999 号の定期券を乗客から盗もうとするが失敗する。警察に追われる鉄郎は、死んだ母そっくりな謎の美女メーテルに救われる。
鉄郎はメーテルに「機械の体になって永遠に生きて、永遠に星の海を旅したい」と語る。そして母を殺した機械伯爵をこの手で殺すのだ、とも。しかし、そのためには、999号に乗ってただで機械の体をくれるという星に行かねばならない。メーテルは、自分と一緒に旅をするのならただで定期券をあげると鉄郎に提案する。こうして二人の旅が始まる。
最初の停車駅はタイタン。二人は山賊におそわれ、メーテルはさらわれる。鉄郎はある老女から銃をもらい山賊のアジトに向かう。山賊のボス、アンタレスは、鉄郎が自分と同じ生身の人間だとわかるとメーテルを返す。さらに、鉄郎が機械伯爵と戦う計画を知り「撃たれる前に撃て。たじろいだり、ひるんだりしたら、お前の負けだ」と忠告する。
鉄郎は、機械伯爵が住む時間城がヘビーメルダーという惑星にあると、旅の途中で知り合った女海賊エメラルダスに教えられる。惑星をさまよううち、鉄郎は銃をくれた老女のひとり息子トチローと出会うが、長年の戦いで傷ついたトチローは間もなく死んでしまう。そこへ悪者が現れ鉄郎をおそう。運良く、鉄郎はトチローの親友、海賊キャプテン・ハーロックに救われる。
時間城にもぐり込んだ鉄郎のもとにアンタレスが駆けつける。アンタレスは自分の命を投げ出して鉄郎を助け、鉄郎は伯爵を殺す。だが、鉄郎は「永遠に生きることだけが幸せじゃない。限りある命だから、人は精一杯がんばるし、思いやりや優しさがそこに生まれる」と気づき、機械人間を作っている星「アンドロメダ」を破壊することを決意する。
こうして鉄郎はメーテルとともにアンドロメダに到着する。しかし、そこを支配するのはメーテルの母だった。鉄郎はメーテルに裏切られた気持ちになるが、メーテルも母を許せずにいた。エメラルダスやハーロックの力も借り、鉄郎とメーテルは惑星を破壊し、999号で地球に戻る。そして再び旅立つメーテルを鉄郎は見送るのだった。
[From September Issue 2010]
Dear Doctor (Directed by NISHIKAWA Miwa)
This motion picture was released in June 2009. It is the third feature-length film by director NISHIKAWA Miwa. She also wrote the script which won the Japan Academy Prize for Best Screenplay. SHOFUKUTEI Tsurubei who is a rakugo-ka (comic storyteller) and a popular TV personality, played the doctor, his first-ever leading role in a movie.
The story is set in a mountain village where over half of the population is elderly. It begins when Dr. INO Osamu (played by Tsurubei), the only resident doctor at the only village clinic, suddenly disappears, and the villagers start to panic. As two detectives start investigating, some of Ino’s past is gradually revealed.
Three and a half years ago, after a chance meeting with the village mayor, Ino was asked to become their resident doctor. He was very diligent in giving the villagers medical care, and along with OHTAKE, the veteran nurse, they even made house calls to conduct medical check ups. The villagers learned to respect him more than “God and Buddha.” Soon after, SOMA, an intern fresh out of a Tokyo medical school, arrived at the village. Soma also learned to appreciate the diligence and kindness Dr. Ino puts into his work and that all the villagers enjoy.
One day, the widower TORIKAI Kazuko collapses. Dr. Ino and his staff rush to her aid after receiving the emergency call, but she insists that there is nothing wrong with her. Concerned, Dr. Ino revisits her again that night. Kazuko pleads with him, “Doctor, please lie with me,” as she wishes to avoid burdening her daughters, who have their own lives to lead. She even insists that her condition be kept secret from one of her daughters, herself a Tokyo-based doctor.
Dr. Ino concedes to Kazuko saying “very well, as you wish,” but in return he makes her promise to take a gastroscopy test. Although he told her that she suffers from a stomach ulcer, he is concerned that she might have cancer, and so requests without telling her, a closer examination at a specialized institution. Her results reveal that she has terminal cancer. However, the doctor, not wanting to depress her, keeps the truth to himself. Then he calls upon his regular pharmaceutical salesman to take the same test, and switches the results.
Kazuko’s three daughters then visit her for the first time in quite a while. Ritsuko, the doctor, realizes that her mother is taking pills and decides to visit the clinic. Ritsuko bombards Dr. Ino with questions as they look at her mother’s swapped gastric photos, and finally accepts the situation. After Ritsuko tells Dr. Ino that she’ll visit her mother again in one year, he suddenly jumps on his motorcycle and disappears.
Despite their intense investigation, the police fail to locate Dr. Ino’s whereabouts. They soon find out that Dr. Ino had no medical license, after which the villagers’ concern quickly turns to accusation. Later, Kazuko is admitted into the hospital where Ritsuko works. There, a man wearing a white cap and a mask and serving tea to patients comes to her hospital room. Ino’s familiar and friendly smiling eyes make Kazuko’s face light up, as the movie comes to a close.
[2010年9月号掲載記事]
ディア· ドクター（西川美和監督）
2009年6月に公開された作品。長篇映画三作目となる西川美和が監督を務めた。西川は脚本も手がけ、日本アカデミー賞の最優秀脚本賞を受賞した。落語家でありテレビタレントとしても人気の笑福亭鶴瓶が医師役で映画初主演を果たした。
高齢者が人口の半分以上という山あいの村が舞台。村でただひとつの診療所でたった一人の医師として働く伊野治（笑福亭鶴瓶）がある日、突然姿を消し、大騒ぎになるところから映画は始まる。二人の刑事が捜査を進めるうち、伊野の過去が少しずつわかってくる。
伊野は3年半前、たまたま知り合った村長から頼まれ、医師として村に迎えられた。ベテラン看護師、大竹と診療にあたり、家々を訪ねて健康診断もする熱心さで、村人たちからは「神様仏様」よりも尊敬されている。そこに最近、東京の医大を出た研修医、相馬がやって来た。皆に優しい伊野の人柄と仕事ぶりに、相馬もひかれていく。
ある日、夫に先立たれてから一人で暮らしている鳥飼かづ子が倒れる。連絡を受けて伊野たちは駆けつけるが、かづ子はどこも異常はないと答える。気がかりな伊野はその晩、かづ子を再び訪ねる。かづ子は、それぞれの人生を歩む娘たちには迷惑をかけたくない、東京で医師をしている娘にも体調不良を知らせたくないと言い、「先生、一緒にうそついてくださいよ」と訴える。
かづ子の気持ちを理解した伊野は「よし、引き受けました」と答えるが、その代わり胃カメラ検査を受けさせる。かづ子には胃かいようだと伝えたが、がんを心配した伊野は専門機関に検査を依頼する。その結果、彼女が末期がんに冒されていることがわかる。かづ子を気落ちさせたくない伊野は、真実を告げない。そこで、診療所に出入りする製薬会社の男を呼び出し、胃カメラを飲ませ、診察結果をすり替える。
しばらくして、かづ子のもとに3人の娘たちが久しぶりに里帰りする。母親が薬を飲んでいることに気づいた医師のりつ子は、診療所を訪れる。すり替えられた胃の写真を見ながら伊野を質問攻めにするりつ子だったが、最後は納得する。りつ子がまた1年後に母親を訪ねるつもりと話すと、伊野は突然、バイクで診療所を飛び出し、姿を消す。
警察は必死で捜査するが、伊野の居場所はわからない。やがて伊野に医師免許がなかったとわかると、村人たちの心配の声は非難の声に変わる。かづ子はりつ子の勤める病院に入院する。彼女の病室に白い帽子とマスク姿でお茶を配る男が入っていく。伊野と思われるその男の人懐っこい笑顔にかづ子は微笑みかえし、映画は終わる。
Information From Hiragana Times
Products
-
APP Version | アプリ版 Original price was: ¥9,000.¥7,200Current price is: ¥7,200. -
APP+Print Version | アプリ＋プリント版 Original price was: ¥19,560.¥13,900Current price is: ¥13,900. -
Print version | プリント版 Original price was: ¥10,560.¥9,900Current price is: ¥9,900.
