豆腐匠的哲学

by Yasujiro Ozu, 吴菲 (Translator)

本書為小津安二郎唯一文集，獲小津家族首肯，在適逢這位日本電影巨匠冥誕110歲的時候紀念出版，獨具意義。書中精選39篇小津安二郎在各大報章雜誌上的電影見解、幕後花絮，文字透露出他對電影的愛、拍片時的各種堅持。同時另收15件小津於二戰期間在戰地時與家人朋友往來書信與投稿文字、1篇獨家專訪、小津自評53部劇情作品，極有珍藏意義。

Genres: Film, Japan

272 pages, Hardcover

Published October 1, 2016

About the author

Yasujirō Ozu (小津 安二郎, Ozu Yasujirō?, 12 December 1903 – 12 December 1963) was a prominent Japanese film director and (sometimes under the name James Maki) script writer. He is known for his distinctive technical style, developed since the silent era. Marriage and family, especially the relationships between the generations, are among the most persistent themes in his body of work. His outstanding works include Early Summer (1951), Tokyo Story (1953), and Floating Weeds (1959).

Ozu's reputation outside his native Japan has grown steadily since his death. Influential monographs by Donald Richie, Paul Schrader and David Bordwell have ensured a wider appreciation of Ozu's style, aesthetics and themes in the West.

Ozu was born in the Fukagawa district of Tokyo. At the age of ten, he and his siblings were sent by his father to live in his father's home town of Matsuzaka, Mie Prefecture, where he spent most of his youth. He was educated at a boarding school but spent much of his time in the local cinema rather than a classroom.

He worked briefly as a teacher before returning to Tokyo in 1923 to join the Shochiku Film Company.

Ozu was well known for his drinking. In fact, he and his fellow screenwriter Kogo Noda used to measure the progression of their scripts by how many bottles of sake they had drunk. Occasionally visitors to his grave pay their respects by leaving cans and bottles of alcoholic drink. Ozu remained single and childless all of his life and stayed alone with his mother who died less than two years before his own death.

Ozu died in 1963 of cancer on his 60th birthday. His grave at Engaku-ji in Kamakura bears no name—just the character mu ("nothingness")

Reviews

[EditorDevil · Rating 3 out of 5]

很散的一本散文集。

有五部分：談電影、談自己的電影、中日戰事戰場上、在蓼科小住時的日記、老爺子病倒至歿的日記。其中談電影部分直抒胸臆，毫無矯揉造作，沒看過作者的電影，行文間，作者試圖打破偶像的神話，不必將一個人太神化。說的雖然是電影，但放諸任何一種形式的藝術皆準。戰時部分，讀來有點像看姜文《陽光燦爛的日子》，那是日本侵華時期，滿紙的油菜花，提到所謂的「敵軍」(當時守衛國土的抗日軍隊)時，感情上很難看得下去。不過終於也被我完成了。

如是小津迷，可以看。

[Lynn · Rating 3 out of 5]

His thoughts on filmmaking and the film industry are still relevant today... However, I found it extremely difficult to read his accounts of the war... Zero reflection on the sufferings the Japanese army (which he was part of) inflicted on innocent Chinese people...

[Alan Tsuei · Rating 3 out of 5]

小津導演的回憶錄，文中不時可感到他那股樸實可愛、樂天知命的個性，但真正令我意外的是他對身在二戰中國戰場時的那幾段描述，身為化學毒氣部隊的一份子，想必有許多難以忘記的殘忍事蹟，但人在越殘忍的現實中，反而越能把思絮拋向那陌生的遠山田野中，充滿詩意的畫面很好的展現出富有日本人獨有禪意與意識切割的審美觀中。