星泉(药师丸博子 饰)是一名普通的高中女生,母亲早年去世,父亲亦在最近因车祸离开人间,她孤零零地与父亲的情人麻由美(风祭雪 饰)生活在一起。星泉的远房亲戚是黑帮目高组的组长,如今只剩下四个人的目高组成员为完成组长遗愿,请求星泉代替她的父亲继任组长职务。
星泉不忍见成员们走上亡命道路,同意就任,并拜会上层帮会头目滨口(北村和夫 饰)。数日后黑木刑警(柄本明 饰)向星泉透露其父之死与毒品有关,麻由美亦牵涉其中。星泉开始调查父亲死因,而幕后黑手也展开了行动。弱小的目高组面临被摧毁的命运……
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)
——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)
——删减片段(10个)
——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)
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.
混了黑社会就没有回头路了,而水手服还是可以穿回水手服回到学校继续读书。大概就是这个意思吧。
镜头实在迷人。初吻给了大叔。
额~是很精致的电影,但是讲得故事很糟糕
藥師丸小MM和相米慎二都很驚艷.......大幻滅之後,青春的快感反而肆無忌憚,很姣
“我的初吻,给了一个大叔……”红颜祸水,萝莉裙下死,做鬼也风流。很散的片子,过气的黑帮团体即使拉来了青春的小女孩,也挽不回江河日下的衰落趋势。我期待的酣畅淋漓暴力场面始终没有出现。PS:汗,黑手党搞基无国界,居然发现类似《江湖告急》里张耀扬暗恋梁家辉的桥段。
药师丸博子的经典萝莉片,想想现在三丁目夕阳里的她,还真是感叹时光荏苒
彼时的药师丸博子嫩得掐得出水,昭和风味怡然;虽是黑帮属性,依旧是相米慎二标识性的成长题材,借着那一声“痛快”,少女已然迈进女人行列;内里腐烂的悲剧人生,必须得做点什么,才不会被苦闷压抑到爆炸。
故事偏弱,但手法漂亮,挺有诗意的片子,蓝光修复的有点敷衍
我还是喜欢看栗山千明那种心里狠。
相米慎二的童话总是带有独特的成人色彩和黑色风格,一个妙龄少女变身为黑社会组织老大,日本战后社团的挽歌,人与人之间的牵绊是否能超越金钱与利益的牵连呢?影片中多次出现忧伤的镜头,完全消失的动作戏,这是属于相米慎二的独特成长时光,匪夷所思,幻想与现实的界限从来没有这般模糊。
这部居然忘了标。喜欢上丸丸的定情之作,少有如此不加矫饰却干净如澄空的少女,短发圆眼,透彻可怜,干净利落,或许天马行空,或许卖弄少女风情,但不妨碍少女蜕变成女人的情结是青春期亘古不变的美学真理,谁教会你踩着高跟鞋旋转轻盈,谁教会你俯身接吻,从些许到饱满,这便够美
在所谓“萌”文化尚未大行其道的1981年,身穿水手服的药师丸博子行走在一群面相凶恶的男人中间,她拿起机关枪向仇人扫射后微笑着说“快感”,这些新鲜的感触刺激着人们的神经,像一块新生的皮肤发出稚嫩的呼吸。
日式的忠诚和青春交织。
少女的祈祷被火焰包围,相米慎二长镜头下漫画般的战斗美少女实际上是一种形式化的成长经历,或者犹如一个中介物,一种游戏。在校园空间面前的黑社会在构图中与另一边的学生形成了潜在的对峙,打在星泉身上天使般的柔光逐渐消失,融入象征秩序的黑暗,并在ヒコ摩托车后座以如同《精疲力尽》般过剩的跳跃与死亡征兆中快速终结掉余剩的青春,这里,我们可以理解秋千,以及星泉经常重复的拉伸动作的符号含义,作为“召回童年”的象征。尽管看上去安那其,但《水手服与机关枪》却是一部伤感的影片,丧失父亲的少女必须在结尾慢镜之中长出菲勒斯(枪械),并进入权力与话语的符号斗争场域之中,这反而意味着被阉割,召唤童年的巫术被终结。然而这种实体的菲勒斯最终会被二次阉割,是闯入这个不可闯入的神圣空间的警察,以及街道上她手中的一把不存在的枪。
将《水手服与机关枪》同框得到的结果则是令人直抒“痛快”的黑色幽默。当这个群龙无首接近腐烂的目高组命中注定般迎来一个小小的主人翁时,哪怕是暮气沉沉的黑社会也开始变得富有朝气和可爱起来。然而相米慎二藏于后半部分的沉重隐喻却压垮了这所轻盈的游乐园,他不得不将这位失去父亲的少女塑造成一个“母亲”的形象,以便瞬时肩负起战后一代漂泊之人的乡愁。
节奏感大行其道。电影语言在具有实验性的情况下很好地完成了架构全片的任务。故事荒诞,情感真诚,故事线和情感线是可以分离并和谐共存的。故事的荒诞源于水手服与机关枪的反差。结尾处编导将自己一手编造出来的情谊分解,使一个能产生美好情绪的事物消失,让观众一声叹息,牵肠挂肚。
八十年代的偶像电影,和《侦探物语》一样,依旧是少女爱大叔的故事,情节展开得太快看得人莫名其妙,而且药师丸习惯性地做各种体操动作也是卖萌术的种吗?(其实我只是是喜欢长泽雅美的电视版而已)
相当猎奇的题材,散发着青春气息的少女与充满悲剧色彩的黑帮之间形成强烈对比,同时也赋予了故事一定的荒谬感,当少女举起机关枪扫射时全片达到高潮,而这一刻也宣告着青春期的结束。电影充斥着大量的长镜头,本以为会有夸张的暴力场景,但整体还是比较文艺挂的。
就为了一句“快感!!”
帅气~黑帮题材也拍出了人世的爽落