山の音 Yama No Oto

yamanooto.jpg

成瀬巳喜男    1954年  95分 東宝

原作:川端康成
出演:原節子 山村聡 上原謙 長岡輝子 中北千枝子 杉葉子

原節子には、同年代の男性への恋愛の眼差しより、年長者とくに父親に対する視線の方が、しっくりくるのは何故だろうか。誰もが知っている、あのはにかみ方が、どこか男の野蛮で肉欲的な視線をはねつけているのかも知れない。実際、原節子の場合、順風満帆な夫婦関係よりも、夫の浮気で孤独に苦しんだり、夫が戦死して未亡人だったり、 というケースの方が多く、「お父さま」への愛情の視線は、禁欲的な緊張を画面に漲らせ、どんどん熱を帯びてくる。そこがなんともおかしい。
本作も原節子が夫の父に、夫と離婚する決意を告げるシーンで終幕する。夫に直接別れを告げるのではなく、彼女の離別の決心を年長者が無言で受け止めることが、クライマックスとして成立するのは、原作の規定以上に、原節子と年長者の親和性に引っ張られたところが大きいと言うべきだろう。
一見何気ないシーンだが、上原謙の老夫婦が、「出戻り」の妹(中北千枝子)の不平を聞いてやるシーンの滑らかな演出ーーそれは、どんでんを上手く利用した室内空間の映像化ーーは、感動的であった。

“Yama no Oto”      Naruse Mikio      1954    95 minutes  Toho

I don’t know why Setsuko Hara’s gaze is always towards the elderly, especially the father figure. It is her unique father complex. Not only in Naruse’s films but also in Ozu, Kurosawa, she tends to be in constant trouble with her husbands/lovers, or they had died in war. I don’t recall much seeing her in happy marriage life. Her gaze towards her fathers always gather affectionate tension and the forbidden love gets heat up — this is very unique quality and attraction of the quarter German Japanese actress. My hypothesis is: her shy smile rejects men’s sexual gaze and fends off any dirty desire.
The story ends when she tells her husband’s father (amazing So Yamamura) that she’s decided to divorce. The climax is not the scene of her facing her husband for the decision, but the scene of her father-in-law listening to her honest confession. — I think this is only possible with Setsuko Hara who always have incredibly affectionate bonds with father figures.
Naruse’s smooth mise-en-scene when Uehara and his wife hear the complaint of their own divorcing daughter (not Hara, but Chieko Nakakita), was truly masterful. because it is very effective, yet unnoticeable transition when the camera utilizes “Donden-gaeshi” (to move to the opposite camera position by crossing line) and Uehara delivers his punch line.

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