看了《水手服與機(jī)關(guān)槍》1981，4K修復(fù)版藍(lán)光（日版）

后續(xù)打算重刷 箭影2021年新發(fā)行的 4K修復(fù)版藍(lán)光（英版）

箭影 4K修復(fù)版 藍(lán)光

——關(guān)于本片時(shí)長

標(biāo)準(zhǔn)版：1:51:45.699 (h:m:s.ms)

完整版：2:10:27.152 (h:m:s.ms)

完整版時(shí)長：2:10:27.152 (h:m:s.ms)

——?jiǎng)h減片段（10個(gè)）

刪減的章節(jié)（10個(gè)）

——?jiǎng)h減時(shí)長（18 min 44 s）

刪減時(shí)長：18 min 44 s

——?jiǎng)h減的主要內(nèi)容——

（日版藍(lán)光 刪減片段僅有日語字幕，所以看了個(gè)大概！）

1. 黑木刑警告訴星泉關(guān)于她父親的一些事

2.為小弟出頭去找 濱口手下，被吊車吊起 回來后的一些決定

3.小弟 明（就是為他包扎的那個(gè)）要送她回家

4.星泉做噩夢(mèng)（應(yīng)該是）

5.目高組的日常（一些計(jì)劃）

6.星泉夜晚獨(dú)自去見 幫會(huì)頭目濱口 差點(diǎn)被強(qiáng)J（被 麻由美 阻止），該段較長 大概8分鐘

7.佐久間趕到將星泉帶走

8.第二天的日高組

9.見 麻由美父親肥佬 的一段

10.同肥佬吃飯 餐桌上的野味（猴N）

總結(jié)：好像刪的也不是啥重要的劇情

This week’s discussion prompt exactly explains why I don’t quite like this film. Although Izumi is the only main character in this film and the core of all the plots, I could not find a specific and powerful identity from her. In other words, the constant fluidity and ambiguity of Izumi confuses me and block my potential emotional resonance with her. I don’t agree that there is a unilateral or unidirectional change in her characters, not simply transforming from immature to sophistication or from coldness to sensational. It is a very complicated process. Steinberg discusses about the transformations and mixes of medias in the readings. It is interesting to read the books and the films as commodities “without substance.” This permits certain kind of “void” in these media. This film certainly constructs a sufficient commodity micro-environment though fascinating mise-en-scene, peculiar but beautiful lighting and compositions etc. On the other hand, the ambiguity belongs to Izumi.

The opening of this film forms a hilarious contrast and “malposition.” Izumi does not appear at the beginning of the movie. Instead, it shows the members “inviting” a vet to help their dying boss. The dialogue and their actions immediately remind me of “manzai”. The foolishness and their naivety seem to refer to slapsticks, which is a genre being completely different from the Yakuza films. (Definitely not like Suzuki) However, the following sequence shows Izumi and her classmates as a kind of Yakuza group. She always stands out from other three male students. She does not cry and sign on her father’s death. She even once acts as a Sumo player. She looks very calm and even cold to the audiences. These should be the characters of the killer, the Yakuza. Later, when Izumi and boys bow in front of her father’s memorial tablet, this ceremonial scene is analogical with the Yakuza ceremonies as well. Therefore, at the beginning of this film, Izumi shows a kind of stiffness and coldness as the Yakuza member. However, this kind of personality gradually disappears. After she was taken away by Medaka members, Izumi shows more characters as a normal girl. She becomes the boss only because she does not want the members to fight. During her first meeting with higher Yakuza groups, she pours the water of the vase on a leader’s head. This seems to be a girl’s naughty trick. Riding on a motor and dancing after drunk, these express the energy of the youth. However, after the first death of the member, Izumi gradually becomes sophisticated as a boss. She thrusts into the enemy’s base and questions about the death of her group member. Her gestures are very mature. Although I could not detect the nuances between different accents and word-usage in Japanese, I am still wondering whether there are such changes of language in different periods of Izumi through the film. The climax of the film shows Izumi holding the machine-gun. The slow-motion shot materializes her steadiness and courage. Izumi seems to be a professional killer at that scene. Therefore, there are lots of twists in her character.

Finally, this seemingly strange ending actually jumps out from an illusionistic narration. Personally, I will view the ending shot as an element of meta-film, establishing Izumi as a student who just plays all the roles before in this film. In other words, all the changes of the characteristics are kind of games. After walking on the street as an ordinary student for a while, she suddenly leans on the wall and acts like smoking a cigarette. There is no cigarette in her hand. It is a form of acting, which could be identified by the audiences. After meeting with several kids, Izumi starts to act as shooting the machine-guns. As this gesture basically symbolize the Yakuza life experienced by Izumi before, connecting this action to the small kids on the streets seems to be a form of disenchantment. It yells to the audiences: Izumi does not really become a Yakuza. It is only a kind of play. The acting and the complexity dissolves in this sense of childishness and innocence. Disregarding the attention paid from the passers-by, Izumi is not Izumi anymore. The figure standing in front of the audiences is the idol, a film star. Just as the lecture says, the popularity of these idols may originate from the sense of girls. Therefore, at the end of this film, this specific character which grants commercial success is summoned out. This is a declaration: Izumi is still a young student with cuteness and simplicity. The violence before becomes a childish play, acting by small kids. The absence of the properties in her hand diminishes all complicated personalities before.

原標(biāo)題：Live Again

作者：Emerson Goo

譯者：覃天

校對(duì)：易二三

來源：Film Comment（2023年5月1日）

【本文首發(fā)于《虹膜》公眾號(hào)】

批評(píng)家們經(jīng)常對(duì)相米慎二（1948-2001）在80年代成為一名導(dǎo)演感到可惜。當(dāng)時(shí)日本急劇上升的泡沫經(jīng)濟(jì)取代了黃金時(shí)代的制片廠體系。因此，他被西方電影愛好者所忽視，這些影迷往往厭惡那些相米慎二在雄心勃勃的商人（例如出版商和制片人角川春樹）要求他拍攝的高度商業(yè)化的電影（通常是為了宣傳青少年偶像）。這種關(guān)于日本電影「失去的十年」的論調(diào)忽略了一點(diǎn)，那就是相米慎二既知道如何在這個(gè)行業(yè)的限制下工作，也知道如何反擊其可有可無的精神?！竿ㄟ^禮儀」（Rites of Passage）——他的第一個(gè)北美回顧展將于4月28日至5月13日在紐約的日本協(xié)會(huì)舉行，其中許多影片顯然是為了吸引年輕人，它們既展現(xiàn)了青春期的永恒性，也捕捉到了其逝去的不可避免性?；孟胍阅撤N方式逃離時(shí)間的洪流，從而逃離社會(huì)的期望——正如電影學(xué)者和策展人亞歷山大·扎樂頓所指出的，青春主題在80年代的日本流行文化中隨處可見——而它被相米慎二作為一種抵抗快速變化媒體環(huán)境的策略，以令人眼花繚亂的形式展現(xiàn)在了電影中。

《水手服和機(jī)關(guān)槍》（1981）是相米慎二和女主角、日本偶像藥師丸博子的突破性作品，是相米慎二電影中現(xiàn)實(shí)主義和荒誕主義獨(dú)特融合的典范。它的標(biāo)題提到了可愛的女學(xué)生星泉的水手服和機(jī)關(guān)槍——后者是她從黑幫頭目父親那里獲得的。這是一部自省的「鬧劇」，一部稚氣的史詩，影片寓意了日本偶像文化的緊張和矛盾之處。星泉對(duì)她被推入的骯臟世界的黑幫擁有巨大的權(quán)力，但作為一個(gè)年輕的女孩，她顯然特別容易受到他們的暴力影響。同樣地，藥師丸博子得到了日本全國影迷的崇拜，只不過殘酷的是，這是一個(gè)無情地將她的形象商品化的系統(tǒng)。通過她的角色，相米慎二展示了青少年偶像的性誘惑是如何成為權(quán)力和虛無感的源泉，也許無意中反映了他自己作為導(dǎo)演，對(duì)于將年輕女孩捧紅成明星的作用。導(dǎo)演處于權(quán)威的位置，但又受制于電影業(yè)的要求，相米慎二同時(shí)代表了星泉/藥師丸博子所控制的男性和威脅她們的男性。

相米慎二的電影作品充滿了漫畫感，他喜歡通過服裝設(shè)計(jì)和夸張的動(dòng)作等表面元素，讓片中的人物更被觀眾理解。相米慎二的做法也代表了社會(huì)觀眾對(duì)這些人物的眼光。再加上他經(jīng)常使用的長鏡頭，這使得他創(chuàng)造了一個(gè)特別的空間，在這個(gè)空間里，導(dǎo)演將瑣碎的日常生活轉(zhuǎn)化為了角色之間激烈斗爭的場景。《臺(tái)風(fēng)俱樂部》（1985）聚焦的是臺(tái)風(fēng)來臨期間，一群中學(xué)生的變化。當(dāng)暴風(fēng)雨來臨時(shí)，學(xué)生們由于不同的原因最終被滯留在學(xué)校，也讓他們釋放出了自己的情感和欲望。暴風(fēng)雨打亂了學(xué)生們的生活規(guī)律，不僅破壞了童年的空間，也破壞了時(shí)間感，學(xué)校的規(guī)則中止了，她們被迫重新考慮對(duì)自身的看法。在一個(gè)標(biāo)志性的長鏡頭中，這群孩子脫掉了校服，在體育館里跳舞。但這并不是一個(gè)給人以了樂觀感的鏡頭：影片有時(shí)會(huì)出現(xiàn)令人震驚的暴力、色調(diào)模糊的惡性欺凌場面，讓我們不確定應(yīng)該發(fā)笑還是驚恐。

并非相米慎二的所有電影都與青少年主題有關(guān)。《愛的旅館》（1985）是一部日活映畫的粉紅電影，可能是展現(xiàn)相米慎二長鏡頭風(fēng)格的巔峰之作。這部電影以兩個(gè)性侵場景開場。一個(gè)欠高利貸的男人被迫目睹妻子被強(qiáng)奸作為懲罰，這導(dǎo)致他精神崩潰。然后，他試圖在一家情趣酒店強(qiáng)奸并謀殺一名應(yīng)召女郎，但沒有得逞。兩年后，男人和應(yīng)召女郎再次相遇。對(duì)于一部旨在刺激觀眾感官的影片來說，《愛的旅館》顯得異常陰郁，充滿了不適，角色的行動(dòng)仿佛被困在奇怪的儀式中，他們無法控制自己的生活或欲望。全片不乏粉紅電影中常見的性愛場景，以此凸顯角色不可避免、宿命般地陷入欲望漩渦的結(jié)局。而山口百惠的歌曲《向著黑夜》作為影片中一個(gè)關(guān)鍵場景的背景音樂出現(xiàn)，其宗教性、超然的歌詞和曲調(diào)和角色祈禱和悔改的畫面相稱。

盡管影片中的導(dǎo)演處理都有其含義，但《愛的旅館》講述的并不是關(guān)于尋求寬恕的人，而是關(guān)于通過重復(fù)過去、詛咒自己的反常欲望。如果說相米慎二是在通過電影中的孩子展現(xiàn)其逃避或超越歷史的愿景，那么對(duì)那些他電影中的成年人來說，這個(gè)機(jī)會(huì)早已不復(fù)存在。在相米慎二的作品中，成長往往意味著陷入創(chuàng)傷和虐待的無盡循環(huán)?！竿ㄟ^禮儀」影展中對(duì)相米慎二的回顧以《歡迎來到東京上空》為止，電影上映的1990年，日本的經(jīng)濟(jì)泡沫已經(jīng)災(zāi)難性地破裂，整個(gè)國家正走向嚴(yán)重的金融危機(jī)。昔日的經(jīng)濟(jì)奇跡已經(jīng)消散成一種無精打采的感覺，被可能發(fā)生的事情所困擾?！稓g迎來到東京上空》就像是《水手服與機(jī)關(guān)槍》的對(duì)立之作，它聚焦的不再是青春期少女，而講述了一位在死后回到人間的青春偶像的故事。悲劇的一點(diǎn)在于，只有通過幻想，我們才能找回我們浪費(fèi)在追尋虛幻目的上的時(shí)間。原來我們和電影中的角色一樣，只能努力繼續(xù)生活下去。

來源：//www.filmcomment.com/blog/live-again-shinji-somai-retrospective/