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Diario di un ladro di Shinjuko - Shinjuku Dorobo Nikki (Nagisa Ôshima 1969) Sub ITA ENG ESP FRA

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    GREENWICH TIME
  • 0:02 - 0:06
    NEW YORK
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    PARIS
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    4:00
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    MOSCOW
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    6:00
  • 0:16 - 0:18
    BRAZZAVILLE
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    4:00
  • 0:20 - 0:22
    PEKING
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    11:00
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    SAIGON
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    11:00
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    JAPAN
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    Thief! Thief!
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    Hurry up! Take them off!
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    What do you think I took?
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    Don'tgetso excited, you bastard!
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    What do you think I took?
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    A piece of pIastic pipe
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    Take your pants off, too!
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    Okay, I'II take them off!
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    PuII them down further!
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    Waita minute!
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    Do you think I got
    something here?
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    ShaII I show what's inside?
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    Now, you want to see?
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    Sorry! Sorry!
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    This is Ali Baba, town
    of mystery...
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    Someone asks you...
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    Morning in the sea,
    noon on a hill...
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    Night in the river.
    Who is it?
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    Bero-bero,
    a little boy
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    This is Ali Baba,
    town of mystery...
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    DIARY OF A SHINJUKU THIEF
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    Even if we'll fade away...
    Even if we'll fade away...
  • 2:59 - 3:07
    A SOZOSHA PRODUCTION
  • 3:07 - 3:09
    Produced by NAKAJIMA Masayuki
  • 3:09 - 3:11
    SCRIPT
    TAMURATsutomu , SASAKI Mamoru
    ADACHI Masao, OSHIMA Nagisa
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    CINEMATOGRAPHY
    YOSHOKA Yasuhiro, SENGEN Seizo
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    SET DESIGN BY TODA Jusho
    SOUND BY HISHIZAKI Hideo
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    SOUND EFFECTS: SUZUKI Akira
    ART DIRECTION: ARAKAWA Dai
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    ASSISTANT DIRECTOR: OGASAWARA Kiyoshi
    ASSISTANT PRODUCER: YAMAGUCHI Takuji
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    In cooperation with Kinokuniya Bookstore, Tokyo
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    THE BOY CALLED BIRDEY HILLTOP
    YOKOO Tadanori
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    THE GIRL CALLED ""SUZUKI UMEKO""
    YOKOYAMA Rie
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    TANABE Moichi, TAKAHASHI Tetsu
  • 3:39 - 3:45
    SATO Kei, TOURA Rokko, WATANABE Fumio
  • 3:45 - 4:08
    KARA Juro and Members of the Jokyo Theatre Group
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    Directed by
    OSHIMA Nagisa
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    SHINJUKU
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    SUMMER 1968
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    SATURDAY
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    5:30 P.M.
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    This is Ali Baba, town of mystery...
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    Someone asks you...
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    Morning on the sea, noon on the hill
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    Night in the river, who is it?
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    President, this guy...
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    Do I know you?
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    l'm your employee
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    My empIoyee?
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    WeII, okay
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    Jean Genet?
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    Yes, ""The Diary of a Thief""
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    We have to see the poIice?
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    Idiot!
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    Let me go!
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    Three times
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    What?
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    Before you're taken to the poIice
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    See you tomorrow
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    What do you want?
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    Let me
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    Let me do it
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    Let me. A cherry is
    notso precious
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    I'II rape you!
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    Okay, tomorrow
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    Tomorrow?
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    Tomorrow, tomorrow, and
    yetanother day
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    Why not today?
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    Are you man enough...
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    ...to put me in bIue ecstacy,
    even the first time?
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    Sure, I am
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    ReaIIy?
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    NEXT DAY, SUNDAY
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    SHINJUKU
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    5:30 P.M.
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    It's onIy the second time
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    There's a reaI variety here
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    He said he'd come again today
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    So to the poIice...
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    So, yesterday was a preview?
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    You're a cinéphiIe?
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    What's your name?
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    Do I have to teII you?
  • 11:09 - 11:12
    If you Iike books so much...
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    ButaII these are for saIe
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    I give you my book. It doesn't
    seII anyway.
  • 11:34 - 11:40
    ""CONVERSATIONS WITH A NAKED
    FIGURE"" BY MOICHI TANABE
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    My name is HiIItop...
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    Rather unusuaI name.
    Is this how you speII it?
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    Yes, my name is Birdey HiIItop
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    You know, Iike fIies in the air
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    HiIItop? The schooI I went to
    aIso had a song Iike that
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    A bird sings and sings
    in a gingko tree
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    Not very good, am I?
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    Sorry, I Iied
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    My reaI name is Gropey Shinagawa
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    Gropey...Let's cutout thejokes
  • 12:18 - 12:19
    ViCar's Hall...
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    He'sjust trying for sympathy
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    I won'taIIow it
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    The ivy twines over...
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    One gate of ViCar's Hall...
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    lt was all so sentimental...
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    But is it still twining there
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    Clear brisk fall skies...
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    And the sea off Shinagawa Bay
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    l leaned against the wooden
    fenCe...
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    And enjoyed the view...
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    Everybody knows this much
    of it
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    I can't teII whether you're
    my junior or my senior
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    Winter exams are Close at hand
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    l don't get FrenCh at all
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    Oh, when l was twenty...
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    l went to sChool for six years...
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    Wine, songs, tobaCCo and girls...
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    That's all l ever learned...
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    I onIy Iearned to shop-Iift
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    If you must use a faIse name...
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    You couId have said Haruo Seto...
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    It wouId have been easierfor
    me to dedicate
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    Here take this
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    You seem to be very interested
    in this student
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    No one eIse brings shop-Iifters
    to me Iike this
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    I Iike this store and you
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    You Iike me? What's your name?
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    Miss Suzuki
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    Miss Suzuki, you don't have to
    bring me every shop-Iifter you find
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    You see, I'm quite busy
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    You're the one he gave it to
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    I don't fancy having dinner with you
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    But he said together...
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    No point in being together
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    I'II wait here tiI you getoff
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    WASHINGTON,
    SUNDAY, 5:30 A.M.
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    SHINJUKU
    SUNDAY 7:30 P.M.
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    I've gota date with a guy at 8:00
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    What for?
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    To sIeep with him
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    You Iike having sex?
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    What do you want?
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    This feIt betterthan
    having sex
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    How does it feeI?
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    I aImostejacuIated
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    This onIy happens when I
    shop-Iift
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    Good-bye
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    Whatabout the money?
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    I don't want it
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    How aboutspIitting it?
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    I said you can have itaII
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    Use it forthe hoteI tonight
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    Birdey HiIItop
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    What?
  • 15:17 - 15:19
    You've got money
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    You couId buy any book
    you Iike
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    I'm poor
  • 15:24 - 15:26
    On onIy a book store cIerk's pay...
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    It's a meagre existence
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    That's right
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    Nonsense!
  • 15:31 - 15:33
    Those books you have there...
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    You can have them
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    The book the Presidentsigned
    to Birdey HiIItop
  • 15:38 - 15:40
    A sex text- it wiII heIp
    you tonight
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    Take them!
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    I got your number, Miss!
  • 15:46 - 15:47
    That's what you think!
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    Okay, to Miss Nogood Suzuki
  • 15:57 - 16:24
    Pick them up, they're expensive
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    Damn!
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    WeII, Iet"s steaI something!
  • 16:28 - 16:36
    This is Ali Baba,
    town of mystery...
  • 16:36 - 16:41
    Someone asks you...
  • 16:41 - 16:50
    Morning in the sea,
    noon on the hill...
  • 16:50 - 16:56
    Night in the river. Who is it?
  • 16:56 - 17:00
    Bero-bero, a little boy
  • 17:00 - 17:06
    This is Ali Baba,
    town of mystery...
  • 17:06 - 17:13
    An unsolvable solvable riddle
  • 17:13 - 17:20
    Tonight the owl won't hoot
  • 17:20 - 17:27
    Morning in the sea,
    noon on the hill...
  • 17:27 - 17:33
    Night in the river. Who is it?
  • 17:33 - 17:37
    Bero-bero, a little boy
  • 17:37 - 18:04
    This is Ali Baba,
    town of mystery...
  • 18:04 - 18:08
    CongratuIation!
  • 18:08 - 18:12
    Wait, you've got to see me in it
  • 18:12 - 18:22
    A Camel's lumps, two melons
  • 18:22 - 18:29
    We're alike as two peas
    in a pod...
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    To the number of hows,
    above and below
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    We like the same guy
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    We even say the same things
    in our sleep. Ei-Ei-
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    A lonely night...
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    We embraCe
    in front of a mirror
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    Even a wilted pomegranate
    blooms Ei-Ei-
  • 18:59 - 19:02
    A hungry winter's night...
  • 19:02 - 19:05
    We gouge our Siamese
    Cat's eye out...
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    And stuff our mouths full
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    The dead in their graves give
    birth Ei-Ei-
  • 19:11 - 19:19
    As long as we are so muCh
    alike...
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    There's nothing at all in
    the world
  • 19:25 - 19:28
    The whole world is deadly
    still
  • 19:28 - 19:32
    Apig's navel
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    Kyu-Kyu-
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    You shouId have toId me before
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    How was it?
  • 19:41 - 19:44
    Nothing
  • 19:44 - 19:46
    Did it hurt?
  • 19:46 - 19:47
    No
  • 19:47 - 19:50
    You Iiked iteven the first time?
  • 19:50 - 20:01
    No
  • 20:01 - 20:05
    WiII you cIean my ears?
  • 20:05 - 20:07
    No
  • 20:07 - 20:08
    ItcouIdn't feeI...
  • 20:08 - 20:09
    No
  • 20:09 - 20:12
    FeeI any betterforthe
    earpick than the years...
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    CouId it?
  • 20:14 - 20:17
    I feeI nothing ataII
    I stiII feeI damned
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    PARIS
  • 20:18 - 20:20
    COMPLETE VICTORY
    PRESIDENT DE GAULLE
  • 20:20 - 21:10
    COMPLETE VICTORY
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    Take her home!
  • 21:13 - 21:14
    Let's go home!
  • 21:14 - 21:17
    Go yourseIf!
  • 21:17 - 21:18
    SettIe down
  • 21:18 - 21:29
    Let me go! What're you doing?
  • 21:29 - 21:56
    Whatare you doing?
  • 21:56 - 21:58
    SUMMER 1968 - MONDAY 4TH - 9 A.M.
  • 21:58 - 22:02
    UMEKO SUZUKI WAS HELD ATTHE
    YOTSUYI POLICE STATION
  • 22:02 - 22:07
    MR. TANABE GOT UMEKO
    OUT OF JAIL
  • 22:07 - 22:11
    UMEKO HAD ASKED HIM TO
  • 22:11 - 22:15
    I heard about you two
    from Mr. Tanabe...
  • 22:15 - 22:20
    And I think I understood
    the probIem...
  • 22:20 - 22:24
    My methods are pretty severe...
  • 22:24 - 22:27
    WouId you give me a few detaiIs...
  • 22:27 - 22:29
    About yourseIves and
    your probIem...
  • 22:29 - 22:32
    The way I Iook at it...
    I shouIdn't do aII the taIking...
  • 22:32 - 22:36
    Take off yourjacket...
    It's so hot...
  • 22:36 - 22:37
    We mustgraduaIIy get
    through the veiIs...
  • 22:37 - 22:41
    After aII...a boy and a girI...
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    It's the most naturaI thing
    in the worId...
  • 22:44 - 22:53
    My feeIings on the matter
    from what I have heard...
  • 22:53 - 22:55
    The boy is pretty...
  • 22:55 - 22:59
    The girI has a strong personaIity...
  • 22:59 - 23:03
    This is the basic probIem...
  • 23:03 - 23:07
    But neither of you seem
    very strong...
  • 23:07 - 23:13
    Let's see...Your name was...
    HiIItop, wasn't it?
  • 23:13 - 23:18
    You're stiII breast feeding...
  • 23:18 - 23:20
    I think you are stiII quite
    a baby...
  • 23:20 - 23:23
    You are Umeko?...
  • 23:23 - 23:26
    You seem quite strong...
  • 23:26 - 23:28
    But I don't think you reaIIy are...
  • 23:28 - 23:30
    You taIk as though you understand...
  • 23:30 - 23:34
    But I don't think you reaIIy do...
  • 23:34 - 23:37
    These are pictures by
    Yumeji Takehisa...
  • 23:37 - 23:41
    These are pornographic drawings
  • 23:41 - 23:43
    Have you ever seen one?
  • 23:43 - 23:44
    Yes I have
  • 23:44 - 23:45
    How about you?
  • 23:45 - 23:46
    No
  • 23:46 - 23:51
    You Iook at them first...
  • 23:51 - 23:53
    I didn't know Yumeji drew
    pornography
  • 23:53 - 23:56
    They are very rare
  • 23:56 - 23:58
    This is quite...
  • 23:58 - 24:07
    I want to pass them on
    to her...
  • 24:07 - 24:21
    You Iook at them cIoseIy too
  • 24:21 - 24:24
    This one kind of gets to me...
  • 24:24 - 24:25
    In what way? EmotionaIIy?
  • 24:25 - 24:28
    Yes
  • 24:28 - 24:33
    For instance, whatshe said...
  • 24:33 - 24:36
    ...about the drawing seems to...
  • 24:36 - 24:41
    ...indicate, thatshe has a desire
    for group sex...
  • 24:41 - 24:46
    AIso you seem to have Lesbian
    tendencies...
  • 24:46 - 24:48
    Lesbian
  • 24:48 - 24:51
    Lesbian?
  • 24:51 - 24:53
    Yes, a kind of desire for
    women...
  • 24:53 - 24:58
    Lesbianism is very popuIar
    nowadays...
  • 24:58 - 25:02
    This drawing is of two women
    and one man
  • 25:02 - 25:07
    Since you are so impressed with it,
    you probabIy have these tendencies
  • 25:07 - 25:11
    As for you...
  • 25:11 - 25:18
    ...you haven't toId me the truth.
  • 25:18 - 25:20
    You must become naked...
  • 25:20 - 25:23
    I wonder, why you don't
    take off your cIothes
  • 25:23 - 25:35
    You stiII aren't wiIIing
    to undress...
  • 25:35 - 25:40
    There are stiII Iots of veiIs
    to pierce through
  • 25:40 - 25:43
    At Ieast take off your
    necktie
  • 25:43 - 25:47
    Come on, make yourseIf
    comfortabIe
  • 25:47 - 25:52
    You haven't reveaIed your
    heart to me
  • 25:52 - 25:55
    Is your waist thick?
  • 25:55 - 26:02
    I mean, not your waist...your hips
  • 26:02 - 26:04
    For a boy
  • 26:04 - 26:07
    WeII, about the same as my chest
  • 26:07 - 26:10
    ExactIy?
  • 26:10 - 26:11
    Have you measured yourseIf?
  • 26:11 - 26:13
    No, I haven't, but...
  • 26:13 - 26:17
    My size ... trousers size...
  • 26:17 - 26:19
    But that's good...
  • 26:19 - 26:25
    Butat the same time itshows
    some weakness, I think...
  • 26:25 - 26:28
    This may sound rude...
  • 26:28 - 26:34
    ...but I feeI you are quite
    effeminate...
  • 26:34 - 26:38
    I want to see both of you
    naked...
  • 26:38 - 26:40
    Both body and heart
  • 26:40 - 26:43
    EspeciaIIy for Umeko,
    I feeI...
  • 26:43 - 26:50
    SeIf-Iove...Ioving onIy oneseIf...
  • 26:50 - 26:55
    ...resuIts in subconscious Lesbian
    tendencies, I think...
  • 26:55 - 27:00
    ...you are attached to those
    of your own sex
  • 27:00 - 27:02
    It may be your mother...
  • 27:02 - 27:08
    ...or some other woman
  • 27:08 - 27:14
    Beginning with seIf-Iove
    and deveIoping into Lesbianism
  • 27:14 - 27:17
    That's why you can't become naked
  • 27:17 - 27:24
    I think this feeIing is one
    of pure seIf-protection
  • 27:24 - 27:26
    How about it?
  • 27:26 - 27:28
    I think both of you...
  • 27:28 - 27:38
    ...you have something
    Iike an armor
  • 27:38 - 27:44
    And I think, this is the reason you'II
    never be abIe to do anything ataII
  • 27:44 - 27:45
    I want you to undress
  • 27:45 - 27:49
    Can one get undressedjust
    beCause someone says one should?
  • 27:49 - 27:52
    lf l had been alone physiCally,
    personnally and anthropologiCally
  • 27:52 - 27:57
    l wouldn't have minded stripping
    Completely
  • 27:57 - 27:59
    Butjust think!
  • 27:59 - 28:02
    Together... with her...
    by the numbers!
  • 28:02 - 28:04
    And me, the one who
    first made her...
  • 28:04 - 28:06
    ...leaving a Cherry blossom
    on the sheets
  • 28:06 - 28:11
    And she able to say only
    Nothing... Nothing... Nothing
  • 28:11 - 28:15
    For things to end like that...
  • 28:15 - 28:19
    lf l were to suddenly remember
    her over breakfast when l'm 80...
  • 28:19 - 28:22
    ...l think it would kind of
    get to me
  • 28:22 - 28:25
    Without sexual freedom, humans
    will never be free...
  • 28:25 - 28:27
    But it's impossible
  • 28:27 - 28:30
    lf all girls in the world would
    never again say no...
  • 28:30 - 28:34
    ...the world would be different
  • 28:34 - 28:35
    Professor Takahashi...
  • 28:35 - 28:39
    ...undoubtedly wanted us to take
    the first step by stripping
  • 28:39 - 28:40
    But for us to take on...
  • 28:40 - 28:45
    ...the responsibility of the whole
    world and strip was impossible
  • 28:45 - 28:49
    Mr Tanabe's kindness was
    also in vain
  • 28:49 - 28:53
    l Could have put an end to
    this diffiCult disCussion
  • 28:53 - 28:57
    l didn't have to make so muCh
    of a little Cherry blossom
  • 28:57 - 29:01
    It was sort of stupid forthem
    to ask us for advice...
  • 29:01 - 29:07
    ...but Iet's see what we can
    do forthem
  • 29:07 - 29:10
    Butamong those present
    there doesn'tseem to be...
  • 29:10 - 29:12
    ...much of an authority on
    the subject
  • 29:12 - 29:13
    How can you teII?
  • 29:13 - 29:15
    What do you mean?
    Pretty insuIting!
  • 29:15 - 29:21
    Sure I'm insuIting! Nobody here
    deserves bettertreatment
  • 29:21 - 29:24
    Nonsense!
  • 29:24 - 29:30
    I want to hear what the guy who
    said "nonsense" has to say
  • 29:30 - 29:33
    Can you soIve their probIems?
  • 29:33 - 29:35
    What is the basis for
    your satisfaction?
  • 29:35 - 29:38
    You're the onIy one who's
    satisfied
  • 29:38 - 29:40
    I'm satisfied, too
  • 29:40 - 29:44
    I'm notsatisfied, notataII
  • 29:44 - 29:52
    I am...I am
  • 29:52 - 29:58
    Let's Ietour hair down
    I'II be MC
  • 29:58 - 30:02
    No cIapping means everyone
    agrees with me
  • 30:02 - 30:05
    Mr Mutsuhiro Toura...
  • 30:05 - 30:09
    What do you have to say aboutsex?
  • 30:09 - 30:14
    I'm pissed, too. I'II Iet
    you rambIe on...
  • 30:14 - 30:18
    Let's ignore Mr Toura
  • 30:18 - 30:21
    And pan to Mr Masao Matsuda
  • 30:21 - 30:25
    Mr Matsuda, are you or are you
    notsexuaIIy satisfied?
  • 30:25 - 30:28
    That's not the probIem
    Everyone here is sexuaIIy satisfied
  • 30:28 - 30:30
    Mr Matsda, are you sexuaIIy
    satisfied?
  • 30:30 - 30:32
    I'm doing aIright
  • 30:32 - 30:34
    And now to today's guest
  • 30:34 - 30:38
    Mr Hajime Yamazaki, are you
    or are you notsexuaIIy satisfied?
  • 30:38 - 30:42
    PIease...how about it?
  • 30:42 - 30:46
    Sex? I getenough
  • 30:46 - 30:50
    In other words, sex isn't
    a duty, is it?
  • 30:50 - 30:55
    Do you feeI sex is a duty?
  • 30:55 - 30:56
    No, it's not
  • 30:56 - 31:00
    Anyway, why do you think my
    saying that I Iove a woman...
  • 31:00 - 31:04
    ...why do you think it's
    embarrassing?
  • 31:04 - 31:08
    Mr Mutsuhiro Toura has announced
    that he Ioves a woman...
  • 31:08 - 31:09
    I find that rather hard to
    beIieve
  • 31:09 - 31:11
    If I may be so boId...
  • 31:11 - 31:14
    ...just what is Iove?
  • 31:14 - 31:15
    WeII...
  • 31:15 - 31:20
    PIease answer
  • 31:20 - 31:25
    Love? It's something one
    doesn'texpIain
  • 31:25 - 31:30
    Mr Kei Sato, how is it to
    appear on TV?
  • 31:30 - 31:36
    Looking as though your mind is
    bIeached white?
  • 31:36 - 31:37
    Shut up, boy!
  • 31:37 - 31:39
    Whatabout it?
  • 31:39 - 31:41
    Whatabout what?
  • 31:41 - 31:43
    You're useIess!
  • 31:43 - 31:49
    I have my doubts...
  • 31:49 - 31:53
    So, I have a feeIing that...
  • 31:53 - 31:56
    ...you are appearing asjust
    Mr Kei Sato on TV
  • 31:56 - 31:58
    It makes me feeI rather
    strange
  • 31:58 - 31:59
    What do you mean?
  • 31:59 - 32:04
    I getsort of confused
  • 32:04 - 32:06
    I intend to be confusing
  • 32:06 - 32:08
    Is that your aim?
  • 32:08 - 32:12
    What kind of woman I Iove?
    That's ridicuIous!
  • 32:12 - 32:15
    That's something that those who
    understand understand...
  • 32:15 - 32:17
    ...and those who don't, don't
  • 32:17 - 32:21
    One doesn't have to reveaI
    everything aboutone's sex Iife
  • 32:21 - 32:23
    But you're annoying others
  • 32:23 - 32:25
    I'm doing what?
  • 32:25 - 32:27
    Annoying others! You reaIIy are!
  • 32:27 - 32:29
    How am I annoying others?
  • 32:29 - 32:31
    In various ways
  • 32:31 - 32:33
    That'sjust what you think!
  • 32:33 - 32:37
    I don't think I'm annoying
    anyone ataII
  • 32:37 - 32:41
    You are crazy to
    think I'm annoying
  • 32:41 - 32:44
    Don't be ridicuIous. I think you're
    extremeIy annoying
  • 32:44 - 32:48
    - Never happen!
    -That has nothing to do with nothing!
  • 32:48 - 32:52
    For instance, Kei, your saying
    this has nothing to do with it...
  • 32:52 - 32:55
    ...makes itaII sort of masturbation
  • 32:55 - 33:01
    Anyway, phenomenaIIy and
    physicaIIy...
  • 33:01 - 33:04
    ...at the momentof coitus...
  • 33:04 - 33:09
    ...one faIIs into the iIIusion, thatone
    has become one with one's partner
  • 33:09 - 33:13
    But what man and woman feeI
    at that time is quite different
  • 33:13 - 33:15
    Nonsense!
  • 33:15 - 33:16
    It's not...
  • 33:16 - 33:17
    I think it's nonsense
  • 33:17 - 33:19
    Why?
  • 33:19 - 33:21
    -I'II expIain it to you
    -PIease...
  • 33:21 - 33:27
    -I'II answer...
    -Answer, pIease!
  • 33:27 - 33:32
    For instance, the question is,
    ""What is sex?"" generaIIy speaking
  • 33:32 - 33:34
    Who? Me?
  • 33:34 - 33:40
    I mean I want to answerthe
    question ""What is sex?""
  • 33:40 - 33:45
    I'm thinking hard about
    what to say
  • 33:45 - 33:49
    Butsince it's notsomething
    I usuaIIy think about...
  • 33:49 - 33:52
    ...I'm thinking so hard about it
    now, but...
  • 33:52 - 33:59
    ...for instance, when you feeI it's
    time for sex...
  • 33:59 - 34:02
    ...when you think now I need sex...
  • 34:02 - 34:07
    In other words, when you see a
    woman's arm, her shouIder...
  • 34:07 - 34:12
    ...hertits...of course, one onIy usuaIIy
    sees the upper part of them...
  • 34:12 - 34:15
    ...buteven when I see the upper
    part I think...
  • 34:15 - 34:18
    ...I turn itover in my mind...
  • 34:18 - 34:22
    ...and I considerthe reason
    for a woman's arms...
  • 34:22 - 34:24
    ...are they for enticing men?
  • 34:24 - 34:27
    Are they for embracing men?
  • 34:27 - 34:28
    That's not it
  • 34:28 - 34:32
    No, her arms are for washing
    gIasses...
  • 34:32 - 34:35
    ...for doing Iaundry, for
    cIeaning, etc...
  • 34:35 - 34:37
    This is aIso what woman's arms
    are for
  • 34:37 - 34:40
    For instance, during the OIympics...
  • 34:40 - 34:44
    Why does Mr Toura feeI itso
    necessary to expIain to us...
  • 34:44 - 34:48
    ...how hot he is for his woman?
  • 34:48 - 34:54
    I've gota woman I'm pretty
    deepIy invoIved with, but...
  • 34:54 - 35:00
    ...but I doubtshe is as hot
    for me as I am for her
  • 35:00 - 35:04
    I even doubt my feeIings
  • 35:04 - 35:11
    Because I feeI doubt,
    I want to go on Iiving...
  • 35:11 - 35:15
    If I had no doubt, I wouIdn't
    want to Iive any Ionger
  • 35:15 - 35:23
    I want to incIude ideas on
    how to Iive...
  • 35:23 - 35:29
    ...and thus expIain sex
  • 35:29 - 35:33
    I don't think freedom in
    sex is possibIe
  • 35:33 - 35:37
    It is a personaI matter
  • 35:37 - 35:41
    ItshouId be Ieftat that
  • 35:41 - 35:44
    This way itstiII has beauty
  • 35:44 - 35:50
    I don'tsee any sense in such
    reports as the Master's Report etc
  • 35:50 - 36:03
    Reports on sex have absoIuteIy
    no significance
  • 36:03 - 36:06
    When a man and a woman
    are together...
  • 36:06 - 36:09
    ...something comes of it
  • 36:09 - 36:18
    Thatsomething has nothing to do
    with whether or nota chiId is born...
  • 36:18 - 36:23
    The onIy thing thatcounts is,
    that they had fun
  • 36:23 - 36:24
    That's the point
  • 36:24 - 36:27
    You are saying that they
    enjoyed itor not...
  • 36:27 - 36:33
    ...depends on things Iike your
    partner's sex organs, arms
  • 36:33 - 36:37
    You make itsound Iike
    it's a matter of detaiIs
  • 36:37 - 36:40
    Wether a woman's sex organs
    are good or bad
  • 36:40 - 36:43
    Judging iton something one
    is born with...
  • 36:43 - 36:45
    ...is utter nonsense
  • 36:45 - 36:48
    There are those who can't
    appreciate weII made things
  • 36:48 - 36:52
    I disagree. I think thatsex shouId
    be good whether or not...
  • 36:52 - 36:57
    ...her organs are the best
  • 36:57 - 37:03
    I think on the other hand
    sex is making the bestof...
  • 37:03 - 37:05
    ...poor quaIity organs
  • 37:05 - 37:10
    Okay, thenjust what is sex?
  • 37:10 - 37:15
    Sex shouId end with an ""s""...
    It's got to be pIuraI...
  • 37:15 - 37:19
    We got to be two peopIe
  • 37:19 - 37:24
    Thus again onanism is impossibIe
  • 37:24 - 37:28
    Having someone watCh is also
    rather interesting
  • 37:28 - 37:30
    OnCe l tried dressed sex...
  • 37:30 - 37:34
    l'll explain...
  • 37:34 - 37:36
    lt was about January 20th and
    the geisha were still wearing...
  • 37:36 - 37:41
    ...their long kimono deCorated
    with thiCk heavy sashes...
  • 37:41 - 37:45
    Usually they take of the sash
    before getting into bed...
  • 37:45 - 37:49
    But instead in dressed sex
    the stash is left on...
  • 37:49 - 37:54
    lt is Considered luCky during the
    first seven days of the new year.
  • 37:54 - 37:56
    When l heard this...
  • 37:56 - 37:59
    ...l thought it sounded like fun.
    But dressed sex alone...
  • 37:59 - 38:02
    ...didn't sound interesting enough.
  • 38:02 - 38:04
    So l made a suggestion...
  • 38:04 - 38:09
    l said l didn't Care what happened
    so everyone should hide and watCh.
  • 38:09 - 38:12
    There should be no objeCtions.
  • 38:12 - 38:17
    We arranged everything and
    Called in a young geisha.
  • 38:17 - 38:22
    The other geisha hid and held
    their breath.
  • 38:22 - 38:25
    The girl was quite Cute.
  • 38:25 - 38:29
    l felt it was kind of Cruel...
  • 38:29 - 38:30
    ...but l had promised...
  • 38:30 - 38:34
    lt was now my responsibilty
    to give them a good show...
  • 38:34 - 38:36
    FIVE DAYS LATER, IT WAS SATURDAY AGAIN
    So they Could see better...
  • 38:36 - 38:38
    FIVE DAYS LATER, IT WAS SATURDAY AGAIN
    ...l pulled her out of bed and on the floor.
  • 38:38 - 38:40
    PARIS RAIN
    ...l pulled her out of bed and on the floor.
  • 38:40 - 38:40
    PARIS RAIN
    She didnt like it, so l said...
  • 38:40 - 38:42
    SAIGON
    She didnt like it, so l said...
  • 38:42 - 38:43
    CLEAR WEATHER
    She didnt like it, so l said...
  • 38:43 - 38:44
    CLEAR WEATHER
    ...it's good luCk, and she was finally ConvinCed.
  • 38:44 - 38:46
    CLEAR WEATHER SUNNY DAY IN NAHA
    ...it's good luCk, and she was finally ConvinCed.
  • 38:46 - 38:48
    CLEAR WEATHER SUNNY DAY IN NAHA
    ln the middle of things...
  • 38:48 - 38:48
    SHINJUKU: CLEAR WEATHER
    ln the middle of things...
  • 38:48 - 38:50
    SHINJUKU: CLEAR WEATHER
    ...someone Coughed in the hall.
  • 38:50 - 38:53
    TEMPERATURE: 36 DEGREES, HUMIDITY: 70%
    l got exited and Coughed twiCe as loud
  • 38:53 - 38:54
    DISCOMFORT INDEX: 85
    l got exited and Coughed twiCe as loud
  • 38:54 - 38:58
    Everything Came out all right.
    The girl left...
  • 38:58 - 39:00
    ...and we got together again.
  • 39:00 - 39:02
    Who Coughed?
  • 39:02 - 39:06
    The Culprit wasn't found. Our little
    game had almost gone too far.
  • 39:06 - 39:08
    lf she had heard the Cough...
  • 39:08 - 39:12
    ...she might have appealed to the
    poliCe on human rights grounds.
  • 39:12 - 39:16
    A lonely night...
  • 39:16 - 39:19
    We embraCe in front of a mirror
  • 39:19 - 39:23
    Even a wilted pomegranate
    blooms Ei-Ei-
  • 39:23 - 39:28
    A hungry winter's night...
  • 39:28 - 39:31
    We gouge our Siamese
    Cat's eye out...
  • 39:31 - 39:34
    And stuff our mouths full
  • 39:34 - 40:56
    The dead in their graves give
    birth Ei-Ei-
  • 40:56 - 40:59
    At a Certain plaCe on the other
    side of the river...
  • 40:59 - 41:03
    AplaCe Called Shower lnn...
  • 41:03 - 41:06
    A male and female relationship
    isjust like a Car...
  • 41:06 - 41:09
    There is an element of timing
    for starting the engine...
  • 41:09 - 41:14
    When the timing is good...
  • 41:14 - 41:16
    ...suddenly it begins to rain...
  • 41:16 - 41:21
    ...at exaCtely the right moment
  • 41:21 - 41:26
    Thus, when a man and a woman
    are Caught together in the rain...
  • 41:26 - 41:30
    ...it works out very well
  • 41:30 - 41:35
    ln other words, if the woman
    says she must leave...
  • 41:35 - 41:37
    ...and it starts raining...
  • 41:37 - 41:39
    ...espeCially if the rain starts...
  • 41:39 - 41:43
    ...just when you are having trouble
    keeping up a Conversation...
  • 41:43 - 41:48
    ...the two of you suddenly
    have a feeling of Closeness
  • 41:48 - 41:53
    Everything there is so well arranged...
  • 41:53 - 41:59
    ...for the man and the woman
  • 41:59 - 42:08
    The hotel sets up a very
    passionate atmosphere...
  • 42:08 - 42:11
    ...for it's Customers
  • 42:11 - 42:16
    They really do their best
    to help you suCCeed
  • 42:16 - 42:22
    lf things don't work out well here,
    then it is almost impossible
  • 42:22 - 42:23
    That's how good it is there
  • 42:23 - 42:28
    ln the front there is a little door...
  • 42:28 - 42:32
    lt's like a tea room door
  • 42:32 - 42:36
    You enter through it and you are
    immediately in an eight mat room
  • 42:36 - 42:44
    BeCause of the way tea rooms are made,
    it looks bigger than eight mats
  • 42:44 - 42:49
    And you are suprised to find
    that the whole floor...
  • 42:49 - 42:54
    ...is Covered with sleeping mats
    from wall to wall
  • 42:54 - 43:01
    lt is extremely sensual
  • 43:01 - 43:04
    A room whiCh exCites
    sexual desire
  • 43:04 - 43:09
    lf you go and nothing happens,
    we'll talk about it again
  • 43:09 - 43:25
    Anyway, go and try it
  • 43:25 - 45:09
    From Prof. Takahashi's...
  • 45:09 - 45:14
    Here I come!
  • 45:14 - 45:15
    Here I come!
  • 45:15 - 45:16
    Here we come!
  • 45:16 - 45:18
    Here I come!
  • 45:18 - 45:46
    Here we come!
  • 45:46 - 46:18
    HeIp!
  • 46:18 - 46:29
    HeIp!
  • 46:29 - 46:49
    HeIp!
  • 46:49 - 46:56
    Ali Baba, town of mystery
  • 46:56 - 47:02
    Someone asks you...
  • 47:02 - 47:07
    Morning in the sea,
    noon on a hill...
  • 47:07 - 47:14
    Night in the river,
    who is it?
  • 47:14 - 47:18
    Bero-bero,
    a little boy
  • 47:18 - 47:24
    This is Ali Baba, town of mystery
  • 47:24 - 47:29
    An unsolvable solvable riddle
  • 47:29 - 47:35
    Tonight the owl won't hoot
  • 47:35 - 47:40
    Bero-bero, a little boy
  • 47:40 - 47:45
    This is Ali Baba, town of mystery
  • 47:45 - 47:51
    An unsolvable solvable riddle
  • 47:51 - 47:56
    Tonight the owl won't hoot
  • 47:56 - 48:01
    Bero-bero, a little boy
  • 48:01 - 48:04
    This is Ali Baba, town of mystery
  • 48:04 - 48:08
    UMEKO SUZUKI WAS RAPED
  • 48:08 - 48:11
    RAPED BY TWO MEN
  • 48:11 - 48:14
    WHAT WAS BIRDEY DOING THEN?
  • 48:14 - 48:16
    TOKYO, SHINJUKU: FAIR
  • 48:16 - 49:43
    SAIGON: CLEAR AND FAIR
  • 49:43 - 50:53
    I'm going
  • 50:53 - 50:55
    Birdey!
  • 50:55 - 50:57
    BIRDEY!
  • 50:57 - 50:59
    UMEKO SAID TO BIRDEY
  • 50:59 - 51:01
    ""IS IT OVER?""
  • 51:01 - 51:03
    OF COURSE BIRDEY DIDN'T ANSWER.
  • 51:03 - 51:05
    ""LET'S DO IT.""
  • 51:05 - 51:08
    BIRDEY...
  • 51:08 - 51:09
    Let's do it
  • 51:09 - 51:13
    SHINJUKU
  • 51:13 - 51:16
    SUNDAY
  • 51:16 - 52:09
    5 A.M.
  • 52:09 - 52:12
    If you want to see
    I'II show it to you!
  • 52:12 - 52:17
    Hump it, Showa Decadence Boy!
    Kara Juro's big hump!
  • 52:17 - 52:23
    Dad and mom embraced and
    I was born from a peach
  • 52:23 - 52:26
    If you want to see,
    pay yourfee and see...
  • 52:26 - 52:30
    SITUATION PLAYERS" PERFORMANCE
    KARA JURO'S ""YUI SHOSETSU""
  • 52:30 - 52:38
    Sorry! Sorry! Sorry!
  • 52:38 - 52:43
    We got drugs at midnight
  • 52:43 - 53:06
    Come and see at Hanayono Shrine
  • 53:06 - 53:09
    SHINJUKU, MONDAY 5:30 P.M.
  • 53:09 - 53:11
    BIRDEY IS STANDING HERE
  • 53:11 - 53:47
    STANDING
  • 53:47 - 53:49
    What's the President's number?
  • 53:49 - 53:50
    The number?
  • 53:50 - 53:57
    2-0-0
  • 53:57 - 54:00
    The President, pIease
  • 54:00 - 54:03
    This is Birdey HiIItop
  • 54:03 - 54:05
    Is this the President?
  • 54:05 - 54:08
    No, it didn't work
  • 54:08 - 54:15
    Yes, we're here. Of course
  • 54:15 - 54:19
    The President wiII meet us at
    the Capricorn Bar at 8:30
  • 54:19 - 54:21
    At 8:30!
  • 54:21 - 54:27
    For a long time...
  • 54:27 - 54:34
    l was a barber...
  • 54:34 - 54:38
    ln Shinjuku behind the
    lsetan Department Store
  • 54:38 - 54:42
    My mother was a hustler
  • 54:42 - 54:50
    lt was a good life
  • 54:50 - 54:55
    On Sundays, not a Cloud
    in the sky...
  • 54:55 - 54:58
    We put on our
    Sunday best...
  • 54:58 - 55:01
    EntiCed the lovely ladies...
  • 55:01 - 55:09
    And gayly Chopped
    off their heads
  • 55:09 - 55:16
    Look! Look!
  • 55:16 - 55:21
    The razor danCes
  • 55:21 - 55:26
    Look! Look!
  • 55:26 - 55:35
    Heads fly!
  • 55:35 - 55:38
    What a lovely Sunday!
  • 55:38 - 55:41
    Even the little birds
    eat piCkled onions
  • 55:41 - 56:01
    Yeh! Barbers, Hurrah!
  • 56:01 - 56:03
    I...
  • 56:03 - 56:06
    ...was hiding...
  • 56:06 - 56:43
    ...in the toiIet.
  • 56:43 - 56:50
    l am Jean Genet
  • 56:50 - 56:53
    ConviCts'Clothes are striped
    pink and white
  • 56:53 - 56:56
    Though it was at my
    heart's bidding...
  • 56:56 - 56:59
    ...that l Chose the universe
    wherein l delight...
  • 56:59 - 57:01
    l have at least the power...
  • 57:01 - 57:05
    ...of finding in it the many
    meanings l wish to find:
  • 57:05 - 57:11
    There is a Close relationship
    between flowers and ConviCts
  • 57:11 - 57:14
    A true witness is one who gives evidenCe...
    ""SIMONE WEIL"S WORLD""
    BY DAVY MARIE-MAGDELEINE
  • 57:14 - 57:18
    ...from the depth of poverty,
    misery, despair and disgraCe
  • 57:18 - 57:20
    HENRY MILLER: WRITINGS
  • 57:20 - 57:23
    Now l destroy my inept writings.
  • 57:23 - 57:26
    l throw my knowledge
    in the river passing by.
  • 57:26 - 57:30
    l die of hunger as the wolf
    l Cling desperately...
  • 57:30 - 57:33
    But l Can do nothing...
  • 57:33 - 57:35
    Tears flow aCross my Cheeks
  • 57:35 - 57:37
    Oh, l am low and base
  • 57:37 - 57:38
    Those passing by lead
    heavily laden horses.
  • 57:38 - 57:42
    The days pass by and evening
    Comes in the broad plain of the sky
  • 57:42 - 57:45
    lf it would serve to free
    the human raCe...
  • 57:45 - 57:49
    ...l believe that even sex with
    animals, or...
  • 57:49 - 57:52
    ...Copulation in publiC view, or
    inCest should be enCouraged
  • 57:52 - 57:55
    But if l said here Come Mr Clay,
    Mr. Tree, Mr. Fish, Mr. Bird...
  • 57:55 - 58:00
    ...you would not know, what Color
    he is until you saw him
  • 58:00 - 58:03
    He Could be Negro or white.
  • 58:03 - 58:05
    BeCause two million Negroes
    are named after...
  • 58:05 - 58:07
    ...the masters, when we were freed
    a hundred years ago
  • 58:07 - 58:10
    My loneliness was Clearly
    trying to move...
  • 58:10 - 58:14
    ...to a plaCe with whiCh
    my soul was not ConCerned
  • 58:14 - 58:17
    l felt the reason l had
    to beCome angry...
  • 58:17 - 58:19
    ...in the form of my loneliness
    YOSHIMOTO TAKAAKI: POETRY
  • 58:19 - 58:23
    My first lover was a boy.
    So l had to beCome a girl
  • 58:23 - 58:26
    TOMIOKATAEKO: POETRY
    Then everyone exCept my lover
    said l had beCome a girl...
  • 58:26 - 58:30
    TOMIOKATAEKO: POETRY
    So for them l beCame
    a boy again...
  • 58:30 - 58:32
    Unfotunately, for my lover too
    TOMIOKATAEKO: ""GIRL FRIENDS"" POETRY
  • 58:32 - 58:35
    But he said he wouldn't sleep with
    me, so l beCame a girl for him
  • 58:35 - 58:39
    The woman suffrage problem
    in Kolkhoz is a serious one
  • 58:39 - 58:42
    l know that many of you...
  • 58:42 - 58:46
    Belittle and ridiCule women
    and their demands
  • 58:46 - 58:48
    But, Comrades, this is a mistake
  • 58:48 - 58:50
    lt is a serious mistake
  • 58:50 - 58:53
    She takes out from her poCket
    the operating Gikuyu razor...
  • 58:53 - 58:56
    With a stroke she Cuts off
    the tip of the Clitoris
  • 58:56 - 59:01
    As no other part of the girl's
    sexual organ is interfered with...
  • 59:01 - 59:04
    ln a moment eaCh girl is Covered
    with a dress by her sponsor
  • 59:04 - 59:06
    At thisjunCture the
    silenCe is broken...
  • 59:06 - 59:09
    ...and the Crowd begins to sing
    joyously in these words:
  • 59:09 - 59:12
    Our Children are brave, hurrah!
    JOMO KENYATTA ""FACING MOUNT KENYA""
  • 59:12 - 59:15
    Did anyone Cry? No one Cried-hurrah!
    JOMO KENYATTA ""FACING MOUNT KENYA""
  • 59:15 - 59:18
    l should have never learned words
  • 59:18 - 59:24
    With Japanese and a
    little foreign language...
  • 59:24 - 59:27
    l stop in your tears...
  • 59:27 - 59:29
    TAMURA RYUICHI: POETRY
  • 59:29 - 59:33
    l return alone in your blood
    TAMURA RYUICHI: POETRY
  • 59:33 - 59:36
    Not being a learned priest, l don't
    have the freedom of Nirvana
  • 59:36 - 59:38
    l still have an attaChment
    for life
  • 59:38 - 59:40
    l deCided to esCape from
    the plaCe
  • 59:40 - 59:42
    That night l burned and threw
    away all letters from friends
  • 59:42 - 59:45
    My wife and l took our Children
    and esCaped to an inn
  • 59:45 - 59:50
    Before long, it was rumored that
    l had been Captured and killed
  • 59:50 - 59:52
    But Rou-xi's whereabouts
    were entirely unknown
  • 59:52 - 59:56
    Some said that the foreign Community
    offiCials had taken him away...
  • 59:56 - 59:58
    To the Ming-Rishudian Publisher
    to find out wether he was an editor
  • 59:58 - 60:02
    Others said, that he was taken
    to the govermental publisher...
  • 60:02 - 60:04
    To determine wether or not
    he was really Rou-xi
  • 60:04 - 60:08
    SinCe he was handCuffed his
    Case must have been serious
  • 60:08 - 60:12
    Some said that he Could be
    released on bail...
  • 60:12 - 60:16
    While others Claimed that he
    had already been sent to Nanking
  • 60:16 - 60:20
    Also there were numerous people
    asking of my whereabouts...
  • 60:20 - 60:23
    Then my mother in Peking
    Collapsed under the strain...
  • 60:23 - 60:26
    l found it neCessary to answer
    them to stop the mistaken rumors
  • 60:26 - 60:28
    This situation Continued
    for twenty days
  • 60:28 - 60:30
    lt beCame bitterly Cold
  • 60:30 - 60:36
    We had suffiCient bedding, but
    we wondered if Rou-xi did
  • 60:36 - 60:38
    Suddenly we reCeived
    a reliable report...
  • 60:38 - 60:40
    Along with 23 others,
    Rou-xi had been shot...
  • 60:40 - 60:43
    On the night of February 7th
    or the morning of the 8th...
  • 60:43 - 60:47
    At the Pong-Hua PoliCe
    Headquaters
  • 60:47 - 60:49
    Ten bullets entered his body
  • 60:49 - 60:51
    ls this the way things were?!
  • 60:51 - 60:53
    Late one night l was standing
    in the enClosed garden of the inn
  • 60:53 - 60:56
    Debris was piled up all
    around me
  • 60:56 - 60:59
    l felt keenly the loss of
    my good friend...
  • 60:59 - 61:02
    And China's loss of a fine
    young man
  • 61:02 - 61:05
    My indignation beCame deeper
  • 61:05 - 61:08
    From this deep feeling, an
    old habit Came to the surfaCe...
  • 61:08 - 61:32
    WhiCh resulted in a poem...
  • 61:32 - 63:14
    Her Iast name is Suzuki.
    Herfirst name is Umeko
  • 63:14 - 63:18
    This is Kinokuniya Book Store
  • 63:18 - 63:20
    I'm on the second fIoor
  • 63:20 - 63:23
    I'm Iocked in and can't
    getout
  • 63:23 - 63:26
    Let's taIk outside
  • 63:26 - 63:29
    Let's go outside...
  • 63:29 - 63:30
    And taIk...
  • 63:30 - 63:35
    No!
  • 63:35 - 63:36
    Let's taIk
  • 63:36 - 63:39
    No!
  • 63:39 - 63:42
    We meetagain. I think
    I've got the picture
  • 63:42 - 63:45
    I never have disIiked
    adventures
  • 63:45 - 63:48
    I've come aIong this far,
    but now...
  • 63:48 - 63:56
    ...I think it's time to bring down
    the curtain on our IittIe drama
  • 63:56 - 64:00
    Nasty!
  • 64:00 - 64:07
    A real man is sexual and at the
    same time something more
  • 64:07 - 64:11
    But a woman is nothing
    without sexuality
  • 64:11 - 64:22
    Otto Weininger
  • 64:22 - 64:55
    You're acting pretty strange
  • 64:55 - 64:58
    I did a Iotof wiId things
    in the past...
  • 64:58 - 65:00
    WeII, a few...
  • 65:00 - 65:04
    And I don't want to bother
    you two any further
  • 65:04 - 65:08
    Even in basebaII, if you get Iazy
    just because it's the first inning...
  • 65:08 - 65:34
    ...you wiII suddenIy find that
    you are in the ninth inning
  • 65:34 - 65:45
    PIease buy this girI
  • 65:45 - 66:13
    AII right. I understand
  • 66:13 - 66:16
    PIease buy her
  • 66:16 - 66:19
    Yes, I'm a sIut
  • 66:19 - 66:20
    A whore
  • 66:20 - 66:23
    A prostitute
  • 66:23 - 66:47
    I was raped by a gang
  • 66:47 - 66:49
    Thatswastika pose is nice
  • 66:49 - 66:51
    But it's not very good forthe
    books underneath
  • 66:51 - 66:57
    The books are me
  • 66:57 - 67:06
    PIease buy her
  • 67:06 - 67:07
    The game is over
  • 67:07 - 67:30
    I knew you weren't my
    empIoyee from the beginning
  • 67:30 - 67:32
    Umeko Suzuki is now bought...
  • 67:32 - 67:33
    ...with this money
  • 67:33 - 68:02
    DIARY OF A SHINJUKU THIEF
  • 68:02 - 68:15
    I bought you
  • 68:15 - 68:26
    DIARY OF A SHINJUKU THIEF
  • 68:26 - 68:29
    GOING HOME...
  • 68:29 - 68:32
    UNPLEASANTTHINGS IN
    THE WORLD
  • 68:32 - 68:34
    TODAY TOO, LATE AT NIGHT...
  • 68:34 - 68:37
    I MAKE MY LONELY WAY HOME
  • 68:37 - 68:40
    1, 2, 3, 4...
  • 68:40 - 68:44
    5, 6, 7, 8, 35, 46,
    150, 1 000, 10 000
  • 68:44 - 68:45
    Everybody waiting. Just waiting
  • 68:45 - 68:48
    Doing nothing but waiting
    to see Yui Shosetsu
  • 68:48 - 68:54
    They themselves should aCt
    rather thanjust wait
  • 68:54 - 68:56
    Our red tent is next to
    the Hanazono shrine.
  • 68:56 - 68:57
    No performanCe tonight
  • 68:57 - 69:00
    Break up, please!
  • 69:00 - 69:02
    But Umeko and me Cant break up.
  • 69:02 - 69:06
    l have 30,000 Yen. They say:
    No money, no friends.
  • 69:06 - 69:08
    So Umeko will stiCk with me.
  • 69:08 - 69:11
    Were no beggars, but thieves.
  • 69:11 - 69:14
    Tanabe san didnt understand that.
  • 69:14 - 69:17
    Therefore he didntjoin us.
  • 69:17 - 69:24
    l believe, Umeko wanted to steal Tanabe sans
    sex, and l wanted to steal it from her.
  • 69:24 - 69:26
    He didn't wish tojoin us
  • 69:26 - 69:29
    He tried to tell us
    several things...
  • 69:29 - 69:31
    ...but aCtually he taught us
    nothing at all
  • 69:31 - 69:36
    30,000 yen...lt would be
    natural for us to split it...
  • 69:36 - 69:38
    l Could buy a girl and Umeko
    Could buy a guy
  • 69:38 - 69:41
    Then we Could disperse
  • 69:41 - 69:44
    Rather than buy a girl,
    l want to beCome a girl
  • 69:44 - 69:54
    And l think Umeko wants
    to beCome a boy...
  • 69:54 - 70:01
    May I make an offering
    to the ghost?
  • 70:01 - 70:04
    What's wrong?
    Did you kiII someone?
  • 70:04 - 70:14
    Not yet
  • 70:14 - 70:24
    But I"d Iike to take a swipe
    with a sword Iike this
  • 70:24 - 70:25
    Or wear a woman's costume
    Iike this
  • 70:25 - 70:27
    Are you an actor?
  • 70:27 - 70:31
    Neither being in or seeing
    a pIay is any fun
  • 70:31 - 70:37
    Then how come you pretended
    you were a bookstore cIerk?
  • 70:37 - 70:39
    It'sjust right. Isn't it?
  • 70:39 - 70:40
    Fits too weII!
  • 70:40 - 70:44
    What do you pIan to do?
  • 70:44 - 70:46
    I want to try being someone eIse
  • 70:46 - 70:47
    You mean it?
  • 70:47 - 70:49
    Yes
  • 70:49 - 70:51
    Your part is Yui Shosetsu
  • 70:51 - 70:58
    No, don't do that!
  • 70:58 - 71:00
    There is something
    wrong with him
  • 71:00 - 71:03
    It's aII Iies
  • 71:03 - 71:05
    This weak a guy can't
    pIay Yui Shosetsu
  • 71:05 - 71:07
    It's betterfor an actor
    to be strange
  • 71:07 - 71:08
    But for an absoIute amateur...
  • 71:08 - 71:14
    His eyes are the eyes of a thief
  • 71:14 - 71:18
    In these eighty years of theatre
    a thief has never become an actor
  • 71:18 - 71:25
    You want to try it with
    thatas a seIIing point?
  • 71:25 - 71:31
    Kabuki means to perform
    in a wiId manner
  • 71:31 - 71:35
    The actors were notgorgeous footmen,
    butsociaI outcasts who were chased...
  • 71:35 - 71:39
    ...into the riverbed.
    That's why they are great
  • 71:39 - 71:44
    But I won'tshow you the trap door
    that Ieads to the riverbed
  • 71:44 - 71:46
    You have to find your own
  • 71:46 - 71:49
    If you don't find it...
  • 71:49 - 71:51
    ...and peopIe start praising you...
  • 71:51 - 71:52
    ...with such terms as
    "underground", "psychedeIic"...
  • 71:52 - 71:58
    you'II start feeIing Iike you've
    arrived before you reaIIy have
  • 71:58 - 72:00
    That's how it is
  • 72:00 - 72:05
    Head for saIe!
  • 72:05 - 73:21
    Head for saIe!
  • 73:21 - 73:23
    Who are you?
  • 73:23 - 73:25
    Yui Shosetsu
  • 73:25 - 73:29
    Head for saIe!
  • 73:29 - 73:31
    Give me your head!
  • 73:31 - 73:32
    Give it here!
  • 73:32 - 73:38
    Crazy woman! Getout!
  • 73:38 - 73:49
    Strange face!
  • 73:49 - 73:55
    I'm reaIIy getting it tonight!
  • 73:55 - 73:57
    Why are you heIping him?
  • 73:57 - 74:01
    Who are you? TeII your name!
  • 74:01 - 74:02
    Yui Shosetsu
  • 74:02 - 74:04
    It's notonIy the town
    that's crazy
  • 74:04 - 74:10
    Right! You and him and
    everyone...
  • 74:10 - 74:12
    I know you!
  • 74:12 - 74:16
    You're running away! Coward!
  • 74:16 - 74:18
    You kiIIed your comrades
  • 74:18 - 74:21
    You had your comrades kiIIed
  • 74:21 - 74:23
    You had your comrades kiIIed
  • 74:23 - 74:27
    Don't mistake what you see!
    Hag!
  • 74:27 - 74:32
    Don't mistake what you see!
    Hag!
  • 74:32 - 74:36
    Hey! Listen to the crow
    fIy away!
  • 74:36 - 74:40
    CaII his name once more!
  • 74:40 - 74:43
    Once more! AII together!
  • 74:43 - 74:44
    Caw...caw
  • 74:44 - 74:45
    Craaah!
  • 74:45 - 74:48
    You caII Shosetsu a rook?
  • 74:48 - 74:50
    You caII Shosetsu a rook?
  • 74:50 - 74:53
    What?
  • 74:53 - 74:58
    Chuya! Stand up!
  • 74:58 - 75:00
    Wait! Wait!
  • 75:00 - 75:04
    Let me hear your name
    once again!
  • 75:04 - 75:07
    You, what did you say
    your name is?
  • 75:07 - 75:11
    Yui Shosetsu
  • 75:11 - 75:16
    Shosetsu - pure snow.
    Yui - was there anyone greater?
  • 75:16 - 75:18
    That voice, those teeth...
  • 75:18 - 75:22
    ...these big ears, thatstrong odor...
  • 75:22 - 75:25
    ...these eyes, those hands...
  • 75:25 - 75:32
    ...that way of rearranging his underwear
    without using his hands as he waIks.
  • 75:32 - 75:35
    Yozakura raised Shosetsu...
  • 75:35 - 75:36
    Fraud!
  • 75:36 - 75:39
    You are not Yui Shosetsu
  • 75:39 - 75:40
    That's right!
  • 75:40 - 75:43
    Who do you say he is, hag!
  • 75:43 - 75:49
    Who do you say he is?
  • 75:49 - 75:55
    Give it up!
  • 75:55 - 76:10
    Away! Away!
  • 76:10 - 76:12
    Fraud! Immodesty!
  • 76:12 - 76:21
    If you are Shosetsu, I,
    Yozakura shouId know you
  • 76:21 - 76:24
    I'II beat you with the back
    of my sword!
  • 76:24 - 76:26
    What're you doing?
  • 76:26 - 76:32
    Die!
  • 76:32 - 76:42
    Shosetsu - pure snow.
    Yui - Is there anyone greater?
  • 76:42 - 77:11
    Stay away from her!
  • 77:11 - 77:15
    SITUATION PLAYERS
    CRAZY PERFORMANCE
  • 77:15 - 77:17
    AUDIENCE:
  • 77:17 - 77:20
    1,000 GIRLS
  • 77:20 - 77:22
    AUDIENCE:
  • 77:22 - 77:27
    10,000 POLICEMEN
  • 77:27 - 77:32
    A man should never entrust
    anything to a woman
  • 77:32 - 77:37
    A man shouldjust pass over
    the top of a woman
  • 77:37 - 77:41
    A man shouldjust pass over
    the top of a woman
  • 77:41 - 77:49
    Hurry! Pass over!
  • 77:49 - 77:53
    Woman and Country are alike
  • 77:53 - 77:55
    Man must not serve woman
  • 77:55 - 77:56
    What is a woman?
  • 77:56 - 78:00
    Me!
  • 78:00 - 78:05
    Chuya. Woman is a pitfall!
  • 78:05 - 78:11
    Woman is not waiting for man...
  • 78:11 - 78:14
    Chuya. Man is pitfall!
  • 78:14 - 78:20
    Man is not waiting for woman...
  • 78:20 - 78:24
    Woman is waiting below...
    at your feet.
  • 78:24 - 78:30
    She wants to pull you in...
    like an oCtopus trap
  • 78:30 - 78:34
    Theyjust want you!
  • 78:34 - 78:39
    They CatCh men's dreams
    like an oCtopus trap
  • 78:39 - 78:56
    Chuya. There is no woman...
  • 78:56 - 78:59
    Believe me, there is no woman!
  • 78:59 - 79:02
    There are no women in
    the world!
  • 79:02 - 79:03
    Where to?
  • 79:03 - 79:06
    I cIean myseIf.
  • 79:06 - 79:18
    Wait!
  • 79:18 - 79:24
    Whatare you doing?
  • 79:24 - 79:25
    Whatcostume do I wear next?
  • 79:25 - 79:29
    You may beIieve
    that there is no woman
  • 79:29 - 79:31
    What both of us imagine
    as a woman...
  • 79:31 - 79:35
    ...don't pay any attention
    to her
  • 79:35 - 79:41
    AII we need to do is cIose our eyes
    and pass over her Iike a breeze
  • 79:41 - 79:45
    Butafter aII Japan is
    an isIand country
  • 79:45 - 79:47
    She keeps her Iegs crossed...
  • 79:47 - 79:49
    ...just Iike a woman forfear of
    attack from the outside
  • 79:49 - 79:52
    ComparativeIy, Europe is
    much better
  • 79:52 - 79:56
    HoIIand, ItaIy Germany,
    Afghanistan...
  • 79:56 - 80:00
    They arejust whore houses
    with Goddesses' crown
  • 80:00 - 80:04
    In the West, ten women
    wait for one man
  • 80:04 - 80:11
    But in this country,
    one woman waits forten men
  • 80:11 - 80:15
    You aren"t Shosetsu
    any more. Let's Ieave
  • 80:15 - 80:16
    Hasn"t itstopped yet?
  • 80:16 - 80:20
    Not yet
  • 80:20 - 80:21
    BeIieve there is no woman!
  • 80:21 - 80:24
    PowerfuI men have aIways
    ruIed the country...
  • 80:24 - 80:29
    But in the end the country
    raped aII her ruIers
  • 80:29 - 80:33
    From now on men must raise
    themseIves above those of the past
  • 80:33 - 80:38
    No, don't pay any attention to her
  • 80:38 - 80:47
    Shosetsu, don't bitch Iike
    a bastard chiId
  • 80:47 - 80:50
    After aII, here we have
    a fine woman named Okin
  • 80:50 - 80:53
    With your arbitrary theories
    about women...
  • 80:53 - 80:57
    ...Okin won't know
    what to do with herseIf
  • 80:57 - 81:01
    Your ideas arejust those
    of a bacheIor's Utopia
  • 81:01 - 81:03
    Very weak!
  • 81:03 - 81:07
    You'rejustan undernourished
    king of weak ideas
  • 81:07 - 81:13
    Oh, poor thing!
    Oh, poor thing!
  • 81:13 - 81:16
    SinCe my family was poor...
  • 81:16 - 81:19
    l went to work in an oil shop
    when l was little
  • 81:19 - 81:22
    l was allowed to go out
    only onCe a year...
  • 81:22 - 81:26
    To the Mulberry Fair
  • 81:26 - 81:33
    The wife of the boss was
    an old bitCh...
  • 81:33 - 81:36
    Always thinking l was making
    out with her husband
  • 81:36 - 81:41
    She watChed and spied
    all the time
  • 81:41 - 81:43
    WatChing me as she
    did the Cleaning
  • 81:43 - 81:45
    WatChing me as she
    Cooked
  • 81:45 - 81:48
    WatChing the boss all
    the time
  • 81:48 - 81:52
    Till he finally began to find
    me attraCtive
  • 81:52 - 81:54
    One night on the way
    home from the bath...
  • 81:54 - 81:57
    ...he beCkoned to me
    from behind a trash barrel
  • 81:57 - 82:00
    Okin. Come here
    Show me your ass
  • 82:00 - 82:02
    Though l didn't like him,
    l went...
  • 82:02 - 82:05
    Though it didn't hurt,
    l yelled...
  • 82:05 - 82:08
    Finally his wife found out
  • 82:08 - 82:10
    One night l paCked
    my things...
  • 82:10 - 82:13
    And went to be a maid
    in a biCyCle shop
  • 82:13 - 82:16
    My new boss was a
    milk-toast
  • 82:16 - 82:20
    No problems from him
  • 82:20 - 82:25
    But his stupid son
    YoChan...
  • 82:25 - 82:28
    ...Came Crawling into my bed
    every night
  • 82:28 - 82:30
    What's wrong with you,
    YoChan...
  • 82:30 - 82:32
    ...your feet are Cold as iCe
  • 82:32 - 82:34
    No matter how muCh
    l objeCted...
  • 82:34 - 82:36
    YoChanjust giggled
    and said:
  • 82:36 - 82:38
    Let me suCk your
    mulberry nipples
  • 82:38 - 82:41
    Okin, where do you gather
    suCh niCe mulberries?
  • 82:41 - 82:42
    l want to buy mulberries
    like yours...
  • 82:42 - 82:45
    ...and eat them by the
    mouthfulls.
  • 82:45 - 82:46
    Stop your sillyjokes,
    stupid boy...
  • 82:46 - 82:50
    ...you Can not make
    Okin your toy
  • 82:50 - 82:54
    The door slid open and who should
    be there but old milk-toast
  • 82:54 - 82:57
    He runs in with a fire pump,
    yelling:
  • 82:57 - 83:00
    Where's the flat fire? Let's see it!
  • 83:00 - 83:04
    He grabbed my tit,
    and began blowing
  • 83:04 - 83:05
    This ain't no tube!
  • 83:05 - 83:10
    Even so he kept on blowing
  • 83:10 - 83:16
    Stupid YoChan and his milk-toast
    dad had a big fight
  • 83:16 - 83:23
    Over whether it was a
    mulberry or a blow-out
  • 83:23 - 83:33
    ln a hurry l fled the plaCe
  • 83:33 - 83:35
    And wandered along the
    night road...
  • 83:35 - 83:39
    With my sandals
    under my arm...
  • 83:39 - 83:46
    Where, oh where shall l go?
  • 83:46 - 83:51
    l asked the stars,
    in vain.
  • 83:51 - 83:57
    Walking along through
    the Edo night
  • 83:57 - 84:05
    l got all wet in the
    night dew
  • 84:05 - 84:14
    l learned the sad fate
    of a woman
  • 84:14 - 84:48
    With a happy laugh, Oh...
  • 84:48 - 84:55
    Whatare you doing?
  • 84:55 - 84:56
    Let's steaI it!
  • 84:56 - 85:00
    DIARY OF A SHINJUKU THIEF
  • 85:00 - 85:02
    It's your own fauIt!
    Everything!
  • 85:02 - 85:02
    Sorry!
  • 85:02 - 85:17
    Go find it!
  • 85:17 - 85:22
    Hanbei, caII my name
  • 85:22 - 85:26
    When I kiII someone, who
    appears in frontof me...
  • 85:26 - 85:34
    You promised to teach me,
    who I am, didn't you?
  • 85:34 - 85:40
    You toId me to take
    off this mask
  • 85:40 - 85:46
    I can't take itoff!
  • 85:46 - 85:51
    You said to show me my face
    behind the mask
  • 85:51 - 85:54
    My hands sIip
  • 85:54 - 86:01
    I didn't know that
    bIood was so sIippery
  • 86:01 - 86:05
    Head for saIe!
  • 86:05 - 86:10
    That head is soId!
  • 86:10 - 86:12
    Do you want this one?
  • 86:12 - 86:17
    Orthatone?
  • 86:17 - 86:57
    Which wiII it be?
  • 86:57 - 87:05
    Letgo! Let itgo!
  • 87:05 - 87:19
    Oh, such big snow fIakes!
  • 87:19 - 87:32
    I am Yui Shosetsu
  • 87:32 - 87:46
    Give my husband back
    his head, pIease
  • 87:46 - 87:50
    Kara Juro! It's my fauIt.
    It was stoIen
  • 87:50 - 88:04
    Don'tstop me!
  • 88:04 - 88:08
    DIARY OF A SHINJUKU THIEF
  • 88:08 - 88:15
    This is Ali Baba, town of mystery...
  • 88:15 - 88:21
    Someone asks you...
  • 88:21 - 88:29
    Morning on the sea, noon on the hill
  • 88:29 - 88:35
    Night in the river. Who is it?
  • 88:35 - 88:39
    Bero-bero,
    a little boy
  • 88:39 - 88:45
    This is Ali Baba, town of mystery
  • 88:45 - 88:52
    An unsolvable solvable riddle
  • 88:52 - 88:59
    Tonight the owl won't hoot
  • 88:59 - 89:06
    Morning in the sea,
    noon on the hill...
  • 89:06 - 89:12
    Night in the river. Who is it?
  • 89:12 - 89:17
    Bero-bero,
    a little boy
  • 89:17 - 89:38
    This is Ali Baba, town of mystery
  • 89:38 - 89:49
    What is this?
    How did you getcut?
  • 89:49 - 89:57
    I was about 18. I was
    waIking aIone in Shinjuku
  • 89:57 - 90:04
    A boy about 14 started
    foIIowing me
  • 90:04 - 90:07
    I didn't know he was
    foIIowing me
  • 90:07 - 90:12
    So I continued waIking
  • 90:12 - 90:14
    He came running towards me
  • 90:14 - 90:17
    I think he was a pervert
  • 90:17 - 90:23
    He stabbed me and ran
  • 90:23 - 90:26
    What did he stab you with?
  • 90:26 - 90:29
    I think it was a dagger
  • 90:29 - 90:34
    But he ran away immediatIy
  • 90:34 - 90:36
    I didn't know what had happened
  • 90:36 - 90:40
    Itseems he stabbed two
    orthree girIs
  • 90:40 - 90:42
    He was caughtsoon after
  • 90:42 - 90:47
    I heard Iater...
  • 90:47 - 90:52
    ...that he was an American
  • 90:52 - 90:55
    Did you know immediateIy
    that you had been stabbed?
  • 90:55 - 91:00
    I reaIized what had happened.
    The bIood began to fIow
  • 91:00 - 91:04
    Butsince he was an American...
  • 91:04 - 91:08
    ...aIone in Japan with no parents...
  • 91:08 - 91:16
    ...he had sort of come apart
    for various reasons
  • 91:16 - 91:19
    I think that's the reason
    he did what he did
  • 91:19 - 91:23
    He was quite pitifuI.
    I don't want to bIame him
  • 91:23 - 91:31
    I onIy feeI strong anger
    towards something
  • 91:31 - 91:34
    Because of that...
  • 91:34 - 91:43
    ...didn't you, perhaps, deveIop
    a fear of men?
  • 91:43 - 91:47
    I don't think that had
    anything to do with it
  • 91:47 - 91:51
    You mean it doesn't have any
    particuIar reIationship to sex?
  • 91:51 - 91:55
    No, there's no reIationship ataII!
  • 91:55 - 92:01
    But there was a time when I had
    a fear of men for abouta month
  • 92:01 - 92:06
    WeII then, your wound has not
    created a wound in your heart?
  • 92:06 - 92:12
    It has had a certain amountof
    infIuence, I think
  • 92:12 - 92:13
    Then it was pretty bad for you?
  • 92:13 - 92:17
    It was bad, but it was a
    singIe event...
  • 92:17 - 92:25
    ...so that I think it is something of
    rather great importance to my Iife
  • 92:25 - 92:29
    WeII...thatevent...
  • 92:29 - 92:35
    ...you probabIy shouId take
    good care of it
  • 92:35 -
    Yes, of course, that's true
Title:
Diario di un ladro di Shinjuko - Shinjuku Dorobo Nikki (Nagisa Ôshima 1969) Sub ITA ENG ESP FRA
Description:

Full movie - sottotitoli in italiano / english subtitles / french français sous-titres / spanish subtítulos en español

Regia: Nagisa Ôshima
Nagisa Sohima, Tsutomu Tamura, Mamoru Sasaki e Masao Adachi
Prodotto nel 1968 da MASAYUKI NAKAJIMA, CON L'ASSISTENZA DI TAKUJI YAMAGUZHI, PER LA SOZOSHA

ATTORI:
Macsaku Fuwa, Maki Fujiwara, Hosei Komatsu, Juro Kara, Noboru Kuto, Agako Maro, Masao Matsuda, Reisen Ri, Kei Sato, Mutsuhiro Toura, Jushin Sto, Tetsu Takahashi, Tsutomu Tamura, Mihiro Wakabayashi, Moichi Watanabe, Moichi Yanabe, Tadashi Yamazaki, Shimon Yorsuya, Yadanori Yokoo, Shimon Yotsuya

Uno dei film più cinematograficamente audaci di Oshima Nagisa, Diario di un ladro di Shinjuku è la seconda co-produzione firmata dalla sua casa, la Sozosha, e l'Art Theatre Guild. Per il protagonista di questo film, ladro di libri di letteratura straniera dalla biblioteca ed amante, in particolare, Dostoevsky e Goethe, Oshima estrae alcuni tratti caratteriali da Ri'Chin'u (l'assassino coreano che ha ispirato il suo precedente film L'impiccagione).

Oshima usa questo film per mettere in scena una violenta rivolta contro i preconcetti sul recitare e sul furto, mescolandoli e ridefinendoli. Maureen Turim, discepolo di Oshima, dice che "le sue sciolte e giocose espressioni gestuali serrano l'attualità come teatro di strada", e David Desser sostiene che il film "ci nega un singolo livello di lettura" e che gli attori "interpretano se stessi, interpretano personaggi, mentre Oshima gioca con il film."

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Duration:
01:35:50

English subtitles

Revisions