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内容简介
夏之终结剧照(6张)昭和30年代末,某年除夕之夜,染色家相泽知子(满岛光饰)感染风寒病倒,比之年长许多的小杉慎吾(小林薰饰)温柔细心地照料着她,直待她安然入睡后,方才起身离开 小杉是一个不甚出名的作家,他早有妻室,却与知子过了长达八年有名无分的夫妻生活,每周里分别与妻子和知子各待上几天,彼此默认着对方的存在 知子早年间也曾有过一段婚姻,这名拥有稳定收入且高傲自立的女子,纵使平素里看不出些许凄凉与嫉妒,可在身体不适的情况下也会有几分寂寞萦绕心头 进入新年,身体始感清爽的知子接到一通来自故人的电话 对方名叫木下凉太(绫野刚饰),是一个比知子小几岁的男子,12年前尚为人妇的知子曾为了他抛夫弃子 一通电话,让两个人前缘再续 自此,每当小杉回家与妻子相伴之时,难耐寂寞的知子便和木下私期幽会 平静的表象下,三人维持着随时濒临崩溃的三角关系 在此期间,木下心底的嫉妒如雨后的野草般恣意疯长,他对知子的贪恋与日俱增,渴望独占这位绰约美人,不与他人分享;而另一方面,知子身处两个男子中间,却似乎没有与小杉断掉联系的念头 某天,知子收到小杉妻子的来信,那位女性在心中注入的为妻之爱促使她登门拜访 机不凑巧,家中只有小杉一人,他的妻子刚好外出,但是无法掩饰这座房子内散发出来的二人世界的温馨气息,最终知子仓皇逃离 在此之后,她和作家的恋情渐渐走到尽头,倍感窒息的女子渴望逃离,渴望放弃,渴望开始一段新的人生 满岛光相泽知子小林薰小杉慎吾绫野刚木下凉太赤沼梦罗鞠子安部聪子小杉ゆき小市慢太郎知子前夫越川道夫、深濑和美、穂山贤一濑户内寂听熊切和嘉松尾崇宇治田隆史近藤龙人ジム・オルーク堀善介安宅纪史清水ちえこ宫本まさ江藤井勇菊池信之(以上参考资料)相泽知子相泽知子演员满岛光满岛光配音-染色家,是一个拥有稳定收入且高傲自立的女子 12年前尚为人妇的她与丈夫的学生木下凉太相恋,并为了他抛夫弃子,但两人却没有最终走到一起 知子成为作家小杉的情人,并嫉妒着小杉的妻子 进入新年,知子接到来自木下凉太的电话,两个人再续前缘 小杉慎吾小杉慎吾演员小林薰小林薰配音-一个不甚出名的作家,他早有妻室,并比染色家相泽知子年长许多,却与知子过了长达八年有名无分的夫妻生活,每周里分别与妻子和知子各待上几天,彼此却默认着对方的存在 木下凉太木下凉太演员绫野刚绫野刚配音-相泽知子前夫的学生,比知子小几岁,12年前尚为人妇的知子与意气风发的凉太相恋,并为了他抛夫弃子 但两人却没有最终走到一起,12年后当知子与小杉慎吾保持着情人关系时,凉太用一通电话,让两个人再续前缘 (以上参考资料)满岛光初读剧本时,认为该片是与自己完全没有关系的大人的世界,感觉“大人们好复杂啊” 为了出演好知子这一角色,满岛光在摄影前的一个月内,每周专门前往文化服装学院接受3—4次的染色培训 该片受邀参加了第18届釜山国际电影节 为了准确把握昭和30年代的时代气息与特色,熊切和嘉专门参考了小津安二郎、成濑巳喜男的作品以及木村伊兵卫的写真集 剧组在淡路岛拍摄外景时,曾经两度遭遇台风登陆,因此有的场景被迫改成雨景 导演似乎将此“归咎”于满岛光,称其为“台风女” 喜欢猫的熊切和嘉在淡路岛拍摄时,在当地的动物收容所收养了一只幼猫 (以上参考资料)时间奖项名称提名/获奖提名/获奖方2014年第37届日本电影学院奖最佳新人奖获奖绫野刚(以上参考资料)该片根据日本天台宗比丘尼濑户内寂听于1963年发表的同名自传体小说改编 寂听本名濑户内晴美,出家前曾是作家 学习优异的她在就读东京女子大学期间结婚,二战期间曾随丈夫前往北京赴任 日本战败后夫妇二人回国,她与丈夫的学生坠入爱河,随后抛弃丈夫和女儿前往京都生活,并于1950年正式离婚 在此期间,她以“三谷晴美”、“三谷佐知子”等笔名开始写作 在加入作家丹羽文雄创办的同人志《文学者》后,她与同为作家的小田仁二郎相识相恋,这一段经历便成了1963年发表的小说《夏之终结》的蓝本 这次熊切和嘉摈弃了直接的肉欲刻画,转而用季节的流变,用雨和坡道、甚至是一颗水蜜桃和一份热乎乎的可乐饼这些短暂的俳句似的意象,来累积这个女人夹杂在两个男人之间的欲罢不能,对他来说无疑是全新的尝试 影片中有一处代表性画面,当满岛光从凉太的寓所愤怒而归,匆匆走在那条多次驻足的坡道上时,猛然回头,前方竟是月光下的一大片广漠的水田,紧接着这片月下水田成为了她染色布上的花纹,视觉体验尤为新鲜 但影片饱受垢病的地方在于,小林薰饰演的落魄作家除了慈父般的安详外,几乎没有存在感 这直接导致了这段原本应该像没有护照的黑户一般忐忑不安的婚外情丧失了生动的呼吸感,没有焦虑与忐忑,变成了淡如水的友人之交 满岛光的焦灼的汗水和豆大的眼泪自然也就显得矫情了一些 不讲故事玩情绪的电影,不是所有都能匹敌森田芳光的《其后》,淡化男人写女人的电影,也不是所有都能得成濑巳喜男的真谛 为了凸显主人公的遗世独立,熊切和嘉在几个场景里把周围的人都定了格,只留下满岛光和她的男人眉来眼去,这样的手法在一部表现昭和风调的电影里又未免太过炫技,只剩下突兀了 《夏之终结》在营造充满生活气息的昭和30年代上不失为一曲绝唱,仿佛每一张画面都充满了文学上的细腻光洁,这无疑得益于摄影近藤龙人和美术安宅纪史的工作 (《电影世界》评)