水手服与机关枪

看了《水手服与机关枪》1981，4K修复版蓝光（日版）

后续打算重刷 箭影2021年新发行的 4K修复版蓝光（英版）

箭影 4K修复版 蓝光

——关于本片时长

标准版：1:51:45.699 (h:m:s.ms)

完整版：2:10:27.152 (h:m:s.ms)

完整版时长：2:10:27.152 (h:m:s.ms)

——删减片段（10个）

删减的章节（10个）

——删减时长（18 min 44 s）

删减时长：18 min 44 s

——删减的主要内容——

（日版蓝光 删减片段仅有日语字幕，所以看了个大概！）

1. 黑木刑警告诉星泉关于她父亲的一些事

2.为小弟出头去找 滨口手下，被吊车吊起 回来后的一些决定

3.小弟 明（就是为他包扎的那个）要送她回家

4.星泉做噩梦（应该是）

5.目高组的日常（一些计划）

6.星泉夜晚独自去见 帮会头目滨口 差点被强J（被 麻由美 阻止），该段较长 大概8分钟

7.佐久间赶到将星泉带走

8.第二天的日高组

9.见 麻由美父亲肥佬 的一段

10.同肥佬吃饭 餐桌上的野味（猴N）

总结：好像删的也不是啥重要的剧情

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.

原标题：Live Again

作者：Emerson Goo

译者：覃天

校对：易二三

来源：Film Comment（2023年5月1日）

【本文首发于《虹膜》公众号】

批评家们经常对相米慎二（1948-2001）在80年代成为一名导演感到可惜。当时日本急剧上升的泡沫经济取代了黄金时代的制片厂体系。因此，他被西方电影爱好者所忽视，这些影迷往往厌恶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树）要求他拍摄的高度商业化的电影（通常是为了宣传青少年偶像）。这种关于日本电影「失去的十年」的论调忽略了一点，那就是相米慎二既知道如何在这个行业的限制下工作，也知道如何反击其可有可无的精神。「通过礼仪」（Rites of Passage）——他的第一个北美回顾展将于4月28日至5月13日在纽约的日本协会举行，其中许多影片显然是为了吸引年轻人，它们既展现了青春期的永恒性，也捕捉到了其逝去的不可避免性。幻想以某种方式逃离时间的洪流，从而逃离社会的期望——正如电影学者和策展人亚历山大·扎乐顿所指出的，青春主题在80年代的日本流行文化中随处可见——而它被相米慎二作为一种抵抗快速变化媒体环境的策略，以令人眼花缭乱的形式展现在了电影中。

《水手服和机关枪》（1981）是相米慎二和女主角、日本偶像药师丸博子的突破性作品，是相米慎二电影中现实主义和荒诞主义独特融合的典范。它的标题提到了可爱的女学生星泉的水手服和机关枪——后者是她从黑帮头目父亲那里获得的。这是一部自省的「闹剧」，一部稚气的史诗，影片寓意了日本偶像文化的紧张和矛盾之处。星泉对她被推入的肮脏世界的黑帮拥有巨大的权力，但作为一个年轻的女孩，她显然特别容易受到他们的暴力影响。同样地，药师丸博子得到了日本全国影迷的崇拜，只不过残酷的是，这是一个无情地将她的形象商品化的系统。通过她的角色，相米慎二展示了青少年偶像的性诱惑是如何成为权力和虚无感的源泉，也许无意中反映了他自己作为导演，对于将年轻女孩捧红成明星的作用。导演处于权威的位置，但又受制于电影业的要求，相米慎二同时代表了星泉/药师丸博子所控制的男性和威胁她们的男性。

相米慎二的电影作品充满了漫画感，他喜欢通过服装设计和夸张的动作等表面元素，让片中的人物更被观众理解。相米慎二的做法也代表了社会观众对这些人物的眼光。再加上他经常使用的长镜头，这使得他创造了一个特别的空间，在这个空间里，导演将琐碎的日常生活转化为了角色之间激烈斗争的场景。《台风俱乐部》（1985）聚焦的是台风来临期间，一群中学生的变化。当暴风雨来临时，学生们由于不同的原因最终被滞留在学校，也让他们释放出了自己的情感和欲望。暴风雨打乱了学生们的生活规律，不仅破坏了童年的空间，也破坏了时间感，学校的规则中止了，她们被迫重新考虑对自身的看法。在一个标志性的长镜头中，这群孩子脱掉了校服，在体育馆里跳舞。但这并不是一个给人以了乐观感的镜头：影片有时会出现令人震惊的暴力、色调模糊的恶性欺凌场面，让我们不确定应该发笑还是惊恐。

并非相米慎二的所有电影都与青少年主题有关。《爱的旅馆》（1985）是一部日活映画的粉红电影，可能是展现相米慎二长镜头风格的巅峰之作。这部电影以两个性侵场景开场。一个欠高利贷的男人被迫目睹妻子被强奸作为惩罚，这导致他精神崩溃。然后，他试图在一家情趣酒店强奸并谋杀一名应召女郎，但没有得逞。两年后，男人和应召女郎再次相遇。对于一部旨在刺激观众感官的影片来说，《爱的旅馆》显得异常阴郁，充满了不适，角色的行动仿佛被困在奇怪的仪式中，他们无法控制自己的生活或欲望。全片不乏粉红电影中常见的性爱场景，以此凸显角色不可避免、宿命般地陷入欲望漩涡的结局。而山口百惠的歌曲《向着黑夜》作为影片中一个关键场景的背景音乐出现，其宗教性、超然的歌词和曲调和角色祈祷和悔改的画面相称。

尽管影片中的导演处理都有其含义，但《爱的旅馆》讲述的并不是关于寻求宽恕的人，而是关于通过重复过去、诅咒自己的反常欲望。如果说相米慎二是在通过电影中的孩子展现其逃避或超越历史的愿景，那么对那些他电影中的成年人来说，这个机会早已不复存在。在相米慎二的作品中，成长往往意味着陷入创伤和虐待的无尽循环。「通过礼仪」影展中对相米慎二的回顾以《欢迎来到东京上空》为止，电影上映的1990年，日本的经济泡沫已经灾难性地破裂，整个国家正走向严重的金融危机。昔日的经济奇迹已经消散成一种无精打采的感觉，被可能发生的事情所困扰。《欢迎来到东京上空》就像是《水手服与机关枪》的对立之作，它聚焦的不再是青春期少女，而讲述了一位在死后回到人间的青春偶像的故事。悲剧的一点在于，只有通过幻想，我们才能找回我们浪费在追寻虚幻目的上的时间。原来我们和电影中的角色一样，只能努力继续生活下去。

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