スポンサーサイト

--.--.-- --:--|スポンサー広告
上記の広告は1ヶ月以上更新のないブログに表示されています。
新しい記事を書く事で広告が消せます。

NY Japan Cuts 2013で『俺俺』上映

2013.07.15 03:07|映画/俺俺
ジャパン・ソサエティー(JS) @js_desu

『俺俺」 ただいま上映中。開場前の長い列。
RT @js_film_nyc: Cinephiles lucky enough to grab tickets for IT’S ME IT’S ME at
#JapanCuts
pic.twitter.com/E8lrZQ1Wko
2013.07.14 09:27

『俺俺』、亀梨和也さんファンの方がたくさん!
上映3時間まえから来られた方や、この映画のためにテキサスからNYへ来られた方まで。
亀梨さん、アメリカでもとても人気です!映画も好評でした!
2013.07.14 13:20




pictures dept. @pictures_dept

ニューヨークタイムス紙に映画祭で上映中の日本映画に関する記事が掲載されています.
「るろ剣やテルマエはさておき、日本の映画監督から提示されるのは、
全体的に「社会の憂鬱」を扱った作品が多いという印象」。ow.ly/mWgBJ
2013.07.14 11:15

三木聡は物語を血なまぐさくトリッキーながらも、
まっとうな「あきらめ感」を失うことなく満足な結論へと導く。
亀梨演じる均を取り巻くストーリーがラストを迎える時21世紀の祈りの言葉とも言える均のセリフ
「くだらないよ、そんなこと」が脳裏に響く ow.ly/mWgWz
2013.07.14 11:38


ニューヨークタイムス紙記事

Asian Cinema That Pauses for Reflection
Japan Cuts Features Melancholy Films at Japan Society
By MIKE HALE Published: July 12, 2013
http://www.nytimes.com/2013/07/13/movies/japan-cuts-features-melancholy-films-at-japan-society.html?smid=fb-share&_r=0

〜略〜

Satoshi Miki, whose “Adrift in Tokyo” (2007) is a classic of Japanese anomie, adds to the canon with the black comedy “It’s Me, It’s Me.” Like “Dreams for Sale,” it’s the story of a scam, but it quickly moves beyond that into a realm of creepy fantasy and poisoned allegory. Kazuya Kamenashi plays Hitoshi, frustrated and underemployed, who impulsively steals a cellphone and embarks on a popular swindle, persuading the owner’s mother to wire money to a bank account. (“This is like one of those phone scams!” she says, a little turned on.)

Hitoshi’s criminal enterprise takes a strange turn when he discovers that a new Hitoshi, a dead ringer for him, has taken his place with his own mother: the identity thief’s identity has been stolen, and soon more Hitoshis start to turn up. This isn’t so bad when there are just three or four; the prototypically withdrawn young Japanese man enjoys a new sort of friendship because, as one of them says, “it’s easier to have a relationship with yourself.”

The doppelgängers grow into a zombielike mob, however, and the telephone greeting “It’s me,” originally a deception, becomes a desperate plea for recognition. Mr. Miki brings the tale to a bloody and satisfyingly tricky conclusion, without losing the proper note of resignation. As the final showdown among the Hitoshis begins, the original sighs and delivers a 21st-century benediction: “This is so lame.”

Japan Cuts runs through July 21 at Japan Society, 333 East 47th Street, Manhattan; (212) 715-1258, japansociety.org.

*Adrift in Tokyo=「転々」





pictures dept. @pictures_dept

『俺俺』NY上映人気映画サイトTWITCH評|
「何人もの主人公を演じる亀梨和也は、現代のアレック・ギネスやピータ・セラーズを彷彿とさせる」
「デジタル世代のアイデンティティを巧みに描いたシュールレアリズムなコメディ」すごい絶賛だぁ〜。 
ow.ly/mWhBv
2013.07.14 11:43

アレック・ギネスと言えば、サーがつく英国紳士。
スターウォーズのオビワンケノビ、古くはアラビアのロレンス…。
亀梨さんがアカデミー俳優、千の顔を持つと言われる名優アレック・ギネス、
「博士の異常な愛情」で3役を演じたピーター・セラーズと並び称されるとは
33役を演じた甲斐がありましたね! via HootSuite
2013.07.14 11:49


NY上映人気映画サイトTWITCH評記事

Japan Cuts 2013 Review:
IT'S ME, IT'S ME, A Surreal Farce On the Nature of Identity

Christopher Bourne
goo.gl/fb/oQQ8k

A comically surrealist farce on the nature of identity in the digital age, Miki Satoshi's latest film It's Me, It's Me features an impressively energetic and remarkably varied multiple performance by J-pop star Kamenashi Kazuya as the central character, or should I say, characters. Imagine the John Malkovich multiplication scene in Spike Jonze and Charlie Kaufman's Being John Malkovich stretched to feature length, and you begin to get an idea of the rather freaky nature of this film. It's Me, It's Me starts out as broad, quirky comedy, but becomes gradually darker and more violent in the later passages as the implications of its premise are more deeply explored and the complications become literally murderous.

Hitoshi (Kamenashi Kazuya) is working a dead-end job at a big electronics store, having given up his dream of being a professional photographer and resigning himself to a life of mediocrity. He spends the days engaging in playful banter with his coworkers, and enduring the taunts of his creepy, tyrannical boss (Kase Ryo). One day, while having lunch at a fast-food joint, Hitoshi impulsively walks off with the cell phone accidentally left on his tray by a wheeler-dealer diner sitting next to him. Faced with a rapidly depleting bank account, he pulls a popular scam, so common that the police regularly send out calls to people warning them against it. Hiroshi calls the person's mother (who has been incessantly calling the phone's owner), and inspired by a passerby, he poses as the woman's son with the words, "It's Me! It's Me!" With the fake story of a friend's car accident he caused, he is able to get 900,000 yen transferred to his bank account.

Almost immediately after, pangs of conscience begin to afflict Hiroshi, and he sets out to return the money. But thereafter begins Hiroshi's trip through the identity rabbit hole: when he meets the phone owner's mother, she recognizes him as her own son, calling him "Daiki," the name of the man who Hiroshi swiped the phone from. Even more bizarrely, when he tries to go back to his own home, Hiroshi's own mother thinks he is a stranger, and calls for the police. Another young man, who looks just like Hiroshi but answers to the name Daiki, has taken his place, and tells him of a third look-alike who has come around, claiming to be Hiroshi. Soon, the three get together and build a rapport, starting a small "Me Club," and filling in for each other at work and other places as the others need. Things are rather fun and playful, as they go with the flow of this inexplicable occurrence. But things get more complicated, and much more serious, when suddenly more Hiroshi copies begin popping up (including at least one female version), and as the Hiroshi population increases, they begin to turn on one another, "deleting," that is, murdering one another to find the original (if such a thing exists). Thrown into the mix is a romance Hiroshi embarks on with a beautiful married woman (Uchida Yuki), he meets at the store; her gangster husband and crew don't take too kindly to Hiroshi's attentions toward his wife.

Kamenashi's performance as the multiple Hiroshis is the central attraction, as he adeptly pulls off the many personalities he is called on to portray, like a latter-day version of Peter Sellers or Alec Guinness. The film he is in, based on a novel by Hoshino Tomoyuki, impressively takes advantage of digital video technology, and its ability to convincingly create copies of itself, to comment on the very nature of this medium. Miki, beyond the wild comedic scenario he has created, also offers a fascinating exploration of the themes of identity theft and our increasingly digitalized existence, represented by the many avatars of his protagonist that overpopulate his film. The simple sentence "It's me" takes on many meanings over the course of this journey; it transforms from a casual greeting or a way to scam cash, to a desperate plea, and finally to an assertive declaration of one's worth as a unique, non-replicable individual.
Yesterday, 10:08 pm


上記、Twitch記事の訳。

Dean Shimauchi @deanshimauchi
Twitch「俺俺 評」
この映画は「俺、俺」という気軽な挨拶程度の言葉がペテンの言葉にそして自己承認を乞う絶望的な哀願に、
最後には複製不可、唯一無二の「自分」を確信する強い意思にたどり着くまでの旅
goo.gl/fb/oQQ8k
@TwitchFilm
2013.07.16 09:29

Twitch「Japan Cuts 俺俺」評
”完全な複製が可能なデジタルというメディアそのものに対する批判”であり”加速的にデジタル化(=増殖)され、
盗まれる『自分の存在』という問題への探求”でもある
goo.gl/fb/oQQ8k
@TwitchFilm via Tweet Button
2013.07.16 09:28









NY俺俺を見たライターさんの個人ブログ(ここでもアレック・ギネスの名前が)

Japan Cuts ’13 & NYAFF ’13: It’s Me, It’s Me
saturday, july 13, 2013
Japan Cuts ’13 & NYAFF ’13: It’s Me, It’s Me
http://jbspins.blogspot.jp/2013/07/japan-cuts-13-nyaff-13-its-me-its-me.html

The expression “delete bad copies” sounds like relatively benign office work, until you start encountering your own personal doppelgangers. Much to his surprise, Hitoshi Nagano gets along rather well with his first other “me.” He is okay with the next one too. Then things start getting complicated in Satoshi Miki’s It’s Me, It’s Me (trailer here), which screens tonight as a co-presentation of the 2013 Japan Cuts and this year’s New York Asian Film Festival.

Nagano does not have a lot going on in his life. Having thrown in the towel on his photography ambitions, he limps through each day as a clerk in a big box appliance store. One fateful day at a fast food restaurant, a loud mouth young wheeler-dealer named Daiki inadvertently leaves his smart phone on Nagano’s tray. Acting on a perverse impulse, he uses the phone to con Daiki’s mother into depositing a few hundred thousand yen into his account. Feeling remorseful, Nagano tries to return the money. However, Daiki’s mother will not take it back. She also seems to think he is her son, Daiki.

As it happens, they could indeed be twins. Yet, when Nagano visits his own mother, she does not recognize him. Instead, she insists Daiki the Doppelganger is actually Hitoshi Nagano. Later, the man who admits he kind of, sort of is Daiki explains to Nagano his mother was particularly upset because a third doppelganger had been coming round, making scenes. That would be Nao, the hipster student.

When the three get together, they are like three peas in a pod—different but the same. They start calling their bolt-hole “Me Island” and cover for Nagano when he needs to bail on work. As if meeting his second selves were not eventful enough, he also starts cautiously pursuing Sayaka, an attractive older customer, who is married to a gangster. The mood darkens drastically though when Nao starts bringing round even more doppelgangers.

Based on the novel by Hoshino Tomoyuki, IMIM is one of the most original takes on the doppelganger archetype since Capt. Kirk battled his evil twin in the late Richard Matheson’s “The Enemy Within.” Part urban fantasy, part dark thriller, and part surreal head-trip, it is devilishly difficult to classify. In a way, IMIM has a vibe similar to Sion Sono’s Love Exposure, in which strange and bizarre circumstances take on nationwide significance that everyone accepts with matter-of-fact nonchalance. Indeed, the straight-faced media reports on the mushrooming “copy deletion” phenomenon serve as a sly social commentary, but they are deadly serious for the original Nagano.


J-pop star Kazuya Kamenashi nicely steps into the postmodern Alec Guinness role of Nagano et al, creating intriguingly distinct personas for each “me.” Yuki Uchida adds some grace and sophistication as Sayaka, while Ryo Kase is all kinds of creepy clamminess as Nagano’s abusive store manager, Tajima.

It’s Me, It’s Me is a very clever film that patiently establishes its character(s) and premise. As a result, the payoff is subtle but satisfying. A smart genre hybrid, It’s Me, It’s Me is recommended quite highly when it screens tonight (7/13) at the Japan Society, as a joint presentation of this year’s Japan Cuts and New York Asian Film Festival.
Labels: Japan Cuts '13, Japanese Cinema, NYAFF '13
posted by J.B. @ 3:00 AM




アレック・ギネスとは、、?
http://www.asahi-net.or.jp/~hj7h-tkhs/jap_hope/jap_hope_hearts.htmから抜粋。

「Kind Heart and Coronets」でアレック・ギネスは、なななななんと!一人八役を演じ、
八役の中には女性まで含まれています。なんでも彼は本国イギリスでは8つの顔を持つ男などと称されていた
そうですが、まさにその言は、イーリング・コメディとは対極の位置にある「スターウォーズ」シリーズのよ
うな作品にすら出演している彼の芸域の広さを物語っています。しかも、「Kind Heart and Coronets」では、
アレック・ギネスが扮する8人の人物は全て、主演のデニス・プライスが演ずる主人公に殺されてしまいます。
もう少し詳しく説明すると、主人公が侯爵の称号を継承するには、彼よりも上位の継承権を持つ8人の候補者
を亡き者にしなければなりませんが、かくして亡き者にされる8人の候補者全てをアレック・ギネス一人が演
じているのです。面白いのは、そのようなゴシックホラー的な題材がコメディで味付けされているところで、
そもそも殺される8人全てを同一人物が演じている事実そのものがコメディ的です。



1人8役で、しかも殺されて行く8人をすべて一人で演じているとことか、俺俺から連想されやすいのかな?
あと、「イーリング・コメディとは対極の位置にある「スターウォーズ」シリーズのような作品にすら出演している彼の芸域の広さを物語っています。
この辺りも、、かな?
POP(王道)から俺俺のようなシュールな作品にまで出演、、的な。
向こうの人がかめの仕事範囲をどうとらえてるのかがちょっとわからないから希望的にだけど。。(笑)


上映前の映画解説に「多重人格者」という直接的な断定の表現が出てた
ニューヨークでの評価が気になっていたけど、
けっこう評価はよかった、、、の、かな? 英語が読めないからイマイチ文脈から察するってことが
できないのがもどかしいのだけど、、。





Vivi@limonadagurl
友達ニューヨークの俺俺を見に行った!半分以上はアジア系以外の方。
男性と年上の方もけっこういたそう。映画始まる前に司会者がカツンファンがたくさんいるんでしょう?と聞いて、
たくさんアジア系の女性手を上げたって。
司会者がこれからたくさん亀梨が見れると言って、ファン達キャーってww
2013.07.14 12:06

最後映画クレジットにたくさん亀梨のところでみんなも拍手と喝采だそう〜〜よかった!!
ニューヨークでもいい評判 ヾ(๑´=∀=)ノ
2013.07.14 12:08







Comment

非公開コメント

| 2017.09 |
- - - - - 1 2
3 4 5 6 7 8 9
10 11 12 13 14 15 16
17 18 19 20 21 22 23
24 25 26 27 28 29 30
Profile

ゆ~い

Author:ゆ~い
亀を思う日々。(-ω☆)

  *

カツンのわちゃわちゃに
ニマニマして、
カツンのかっこよさに
クラクラしちゃう日々。

*    *    *

Calendar

08 | 2017/09 | 10
- - - - - 1 2
3 4 5 6 7 8 9
10 11 12 13 14 15 16
17 18 19 20 21 22 23
24 25 26 27 28 29 30

Selected Entries

Recent Comment

Links

Categories

Archives

weather

ブログパーツ『天気予報』:http://flash-scope.com/

tuna.be

Welcome

現在の閲覧者数:

Welcome

Mail

名前:
メール:
件名:
本文:

ジャニーズ最新情報

検索

MOBILE

QRコード

ページトップへ
上記広告は1ヶ月以上更新のないブログに表示されています。新しい記事を書くことで広告を消せます。