斎藤澪原作 増村保造監督作品 この子の七つのお祝いにについて Written by Mio Saito Directed by Yasuzo Masumura About this child's seven celebrations

こんにちは。色々書きたいことがあります。以前一度観たことがあったのですが、監督の名前を知ってかなり驚きました。増村保造黒沢清が「スパイの妻」(2020)のインタビューで言及していたので、気になっていた映画監督でした。観ていて、後に増村保造がイタリアに留学してフェデリコ・フェリーニルキノ・ヴィスコンティに師事していた情報を知ったからかも知れませんが、画面の色使いとカメラワークが何処となく日本映画っぽくないです。勿論角川映画っぽい感じはあるのですが、何というか冒頭の展開、血の嘘臭さやカメラワークがダリオ・アルジェントの「サスペリアPARTⅡ」(1975)に似ています。 

hello. There are many things I want to write about. I had seen it once before, and was quite surprised to learn the director's name. Yasuzo Masumura was a film director that Kiyoshi Kurosawa mentioned in an interview for "Wife of a Spy" (2020), so I was wondering.While watching it, I may have learned that Yasuzo Masumura later went to Italy to study under Federico Fellini and Luchino Visconti. I don't like it.Of course, it has the feel of a Kadokawa movie, but the development at the beginning, the smell of fake blood, and the camerawork are similar to Dario Argento's "Suspiria Part II" (1975). 

この映画はとにかく倉田真弓(岸田今日子)の怪演が光っています。とにかくそれが恐ろしいです。冒頭の針で写真の顔を突っつくシーンや、毎晩怨み言を枕元で子供に言い聞かせる狂気、狂った演技は森田芳光の「黒い家」(1999)の大竹しのぶとかもそうですが、女性は上手いです。目を見ると、完全に向こう側にいってしまっている感じが好きです。増村保造は今日「青空娘」(1957)を観て、遺作となったこの「この子の七つのお祝いに」(1982)を考えてみると色々思うところがあります。凄くざっくばらんに言えば感性が老いてしまったのか、「青空娘」が映画として面白過ぎたせいもありますが、「この子の七つのお祝いに」を作っていた頃はもう熱が無かったのかも知れません。

In any case, the mysterious performance of Mayumi Kurata (Kyoko Kishida) shines in this movie. It's scary anyway. The scene in which he pokes the face in the picture with a needle at the beginning, the madness in which he speaks grudges to a child at his bedside every night, and the madness of Shinobu Otake in Yoshimitsu Morita's "Black House" (1999), but the women are good at it. is.When I look into his eyes, I like the feeling that he's completely gone to the other side. Yasuzo Masumura is watching Aozora Musume (1957) today, and when I think about his posthumous work, Kono Kono Nanatsu no Seikatsu ni (This Child's Seven Celebrations) (1982), there are many things that come to my mind.. To put it bluntly, maybe my sensibilities have gotten old, or maybe it's because ``Aozora Musume'' was too interesting as a movie, but when I was making ``Konoko no Nanatsu no Seishun ni'', I think I didn't have the passion anymore. I don't know.