10月9日 Oct. 9 (Thur.) この機会に見たい異色作A Must See Collection of Unique Films |
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製作:「母たち」制作委員会 Production Company : " Mothers " Production |
黒川芳正を含む東アジア反日武装戦線「さそり」のメンバー大道寺将司、益永利明、荒井まり子らは、丸の内の三菱重工爆破事件を起こし、すでに獄中にある。黒川は獄中からこの作品を指示し監督す る。そして本作製作当時、彼等は死刑囚あるいは無期懲役となっていた。黒川のアイディア「天皇制とは純粋に家父長制原理の権化であるのではなく、同時に女性原理の権化としてある」ことを証明し、 「日本的母の原像を批判的に検証する」という明確なテーマに向かって佐々木健以下スタッフは、8ミ リカメラで黒川自身の母を含む獄中メンバーの母たちへのインタビューを続けた。大道寺将司の母 や黒川の母は息子たちの犯した事件によって徐々に「天皇制」について学習していくようになっていった。そして益永利明の母は事件以降に自ら進んで「母」となるべく養母となった女性であった。それぞ れ事件によって担った重い負荷とともに、冷静に現状を受けとめ今では死刑反対の運動を続ける「母 たち」の姿。時にはユーモアを交えた分析的な寸劇を、そして大道寺将司の原体験となる北海道の風景をはさみながらも、「母たち」は素直な感情を語った。映画は「日帝本国人としてしか生きれなかった、おのれ自身への自己憎悪のパトス」という告白とともに終わる。 | Kurokawa Yoshimasa, Daidoji Masashi, Masunaga Toshiaki, and Arai Mariko, all members of the East Asian Anti-Japanese Armed Front " Scorpion, " were incarcerated for instigating the bombing of the Marunouchi offices of Mitsubishi Heavy Industries. This film was conceived of and directed by Kurokawa whilst in prison. During the making of this film, he and his fellow members were under sentences of death or life imprisonment. As testimony to Kurokawa's idea that " the emperor system is not only an incarnation of the patriarchal principle but also the embodiment of the female principle, " the film aims " to critically exam-ine the essence of the Japanese maternal image. " In it, Sasaki Ken and other film crew members interview the mothers of those in prison, including Kurokawa's mother, on 8mm camera. Daidoji's and Kurokawa's mothers gradually begin to learn more about the " emperor system " because of the crime their sons committed, and another woman chooses to adopt Masunaga Toshiaki as her son after the incident. The film describes the mothers shouldering the heavy burden of the bombing and their calm acceptance of reality, even as they continue the campaign against their sons' death sentences. The mothers'? honest discussion of their feelings is interspersed with humorous analytical short plays and scenes of Hokkaido, which refer to Daidoji's most central experience. The film concludes with a confession of the " pathos of self-hatred for having no choice but to live as a native of Imperial Japan. " |
Yamagata International Documentary Film Festival Organizing Committee |