続き：
実は、僕はこの映画、ビデオにとって何度も注意深く見たんですが、イングリッド・バーグマンは一度も“Play it again Sam!”とは言っていないんですよ。“Play「As Time Goes By」”とか、近いことは何回か言っているんだけど･･･お客さんにこのことを言ったら、何人かの人と口論になってしまいました。もちろん冗談交じりの楽しい口論ですけど、絶対に“Play it again Sam!”って言っているって聞かないんですね。よっぽどそのセリフが気に入って、どうしても言いたいらしい。意地になった僕はその次に会った時に「カサブランカ」のビデオテープをかしてあげて、「よく、よ〜くみてみてみ〜〜」と言ったのです。それからはそのセリフを言う人が一人少なくなりましたが、他の人からはいまだによく言われていますよ。今は諦めの境地。
http://www.imdb.com/title/tt0111161/quotes
Warden Samuel Norton: I believe in two things: discipline and the Bible. Here you'll receive both. Put your trust in the Lord; your ass belongs to me. Welcome to Shawshank.
Red: [narrating] We sat and drank with the sun on our shoulders and felt like free men. Hell, we could have been tarring the roof of one of our own houses. We were the lords of all creation. As for Andy - he spent that break hunkered in the shade, a strange little smile on his face, watching us drink his beer.
この直後のセリフの方が良かった。
http://www.mahamari.com/elysium/orig/shiratori.htm
It's hard to translate poetry properly, but it goes something along the lines of,
"Is the white bird not sad [lonely], drifting undyed by the blue of the sky and cobalt sea?"
Forgive my poor translation.
>>39 Great page. Thanks. I had another idea about the translation,
"Is the white bird not sad [lonely], drifting undyed by the blue of the sky and cobalt sea?"
(which I think is quite good.)
The blue color of the sky is often described using the words "azure" and "cerulean".
>>40
> >>39 Great page. Thanks. I had another idea about the translation,
> "Is the white bird not sad [lonely], drifting undyed by the blue of the sky and cobalt sea?"
> (which I think is quite good.)
I agree with you.
http://www.imdb.com/title/tt0111161/quotes
Warden Samuel Norton: I believe in two things: discipline and the Bible. Here you'll receive both. Put your trust in the Lord; your ass belongs to me. Welcome to Shawshank.
Red: [narrating] We sat and drank with the sun on our shoulders and felt like free men. Hell, we could have been tarring the roof of one of our own houses. We were the lords of all creation. As for Andy - he spent that break hunkered in the shade, a strange little smile on his face, watching us drink his beer.
この直後のセリフの方が良かった。
http://homepage1.nifty.com/Theater5148/cinema/main/paker/parker.html
ミセス・パーカー(1990年）米 Mrs.Parker and the vicious circle
ジェニファー・ジェイソン・リー扮するドロシー・パーカーは実在はした批評家であり女流作家。彼女の半生を描いたのがこの作品です。個人的にはジェニファーには、それほど魅力を感じていないし、ドロシー自身にも特別惹かれるものはなかったのですが、知ってる顔がアメリカでは有名なマスコミ界の人物を演じるというので、俳優に惹かれて観てしまいました。
The wonderful epilogue of Lost in Translation, when Bob and Charlotte meet in the Tokyo streets?
"The kiss wasn't scripted," Johannson said. And what about the whisper, when Bob leans and says something in Charlotte's ear that seems to make her giddy. What did he say?
"The whisper wasn't scripted," Johansson said, and really laughed. "You are the first person to ask me, and I'll never tell what he said!"
谷川俊太郎が 中島みゆき に言った言葉：「どうもありがとう、教えてくれなくて。」
http://www.eliteskills.com/c/2273
My fiftieth year had come and gone,
I sat, a solitary man,
In a crowded London shop,
An open book and empty cup
On the marble table-top.
While on the shop and street I gazed
My body of a sudden blazed;
And twenty minutes more or less
It seemed, so great my happiness,
That I was blessed and could bless.
THE JAPAN JOURNALS, 1947-2004
By Donald Richie.
Edited by Leza Lowitz.
Illustrated. 494 pp. Stone Bridge Press. $29.95.
IN 1955, Donald Richie, a gregarious 31-year-old who had been living in Japan for eight years, was asked to show Truman Capote around Tokyo. Capote was there to interview Marlon Brando, who was filming a movie near Kyoto. Like the characters in Sofia Coppola's film ''Lost in Translation,'' Capote had little interest in this exotic country and mostly hung around his hotel room, complaining of boredom. Richie, as he recalls in his journal, ran out of patience: '' 'I don't see why you came here anyway,' I finally said. He looked at me, wonderingly. 'Why to do Brando, of course.' 'Not to see Japan?' 'Why no,' he said, as though mystified that anyone should think anything so unlikely.''
http://www.salon.com/ent/movies/feature/2001/06/28/memento_analysis/
Everything you wanted to know about "Memento"
A critic dissects the most complex -- and controversial -- film of the year.
...
What follows is an explication for those who have seen the film -- if you haven't seen it, beware, because I'm going to discuss the plot and its revelations in detail.
Next page | A noir full of shocks, jokes and horrors
1, 2, 3, 4, 5, 6
Credits, 1, V, 2, U, 3, T, 4, S, 5, R, 6, Q ... all the way to 20, C, 21, B, and, finally, a scene I'm going to call 22/A, for reasons I'll explain in a minute.
So, if you want to look at the story as it would actually transpire chronologically, rather than in the disjointed way Nolan presents it -- oh, will this ever be fun to do on DVD! -- you would watch the black-and-white scenes in the same order (1 to 21), followed by the black-and-white/color transition scene (22/A). You would then have to watch the remaining color scenes in reverse order, from B up to V, finishing with the opening credit sequence, in which we see Teddy meet his maker at Leonard's hands:
1, 2, 3 ,4 ,5, 6, 7, 8, 9, 10, 11, 12, 13, 14, 15, 16, 17, 18, 19, 20, 21, 22/A, B, C, D, E, F, G, H, I, J, K, L, M, N, O, P, Q, R, S, T, U, V.
Reading the film this way, here's what happens in real-world chronology.
...
Is there an answer? I don't know. Christopher Nolan claims there is one. In an article in New Times Los Angeles on March 15, Scott Timberg writes: "Nolan, for his part, won't tell. When asked about the film's outcome, he goes on about ambiguity and subjectivity, but insists he knows the movie's Truth -- who's good, who's bad, who can be trusted and who can't -- and insists that close viewing will reveal all."
http://endeavor.med.nyu.edu/lit-med/lit-med-db/webdocs/webfilms/memento155-film-.html
A useful companion text might be "The Lost Mariner," Oliver Sacks's account of Jimmie G, a patient with the same kind of memory loss resulting from Korsakov's Syndrome (see The Man Who Mistook his Wife for a Hat, in this data base). (It may be a deliberate allusion that the suspected killer in Memento is called "John G or Jimmie G . . . ")
http://www.memorylossonline.com/spring2002/memlossatmovies.htm
In important ways, Memento depicts amnesia more accurately than any major film release to date. But it also contains a few notable errors, offering an opportunity to set the record straight on a much-misunderstood memory impairment.
plot point in Memento that doesn't quite ring true is his vivid memory of the physical attack in which he was injured. People with anterograde amnesia often cannot remember the trauma that caused their memory loss as well as some memories of events just before the trauma.
http://endeavor.med.nyu.edu/lit-med/lit-med-db/webdocs/webfilms/memento155-film-.html
A useful companion text might be "The Lost Mariner," Oliver Sacks's account of Jimmie G, a patient with the same kind of memory loss resulting from Korsakov's Syndrome (see The Man Who Mistook his Wife for a Hat, in this data base).
(It may be a deliberate allusion that the suspected killer in Memento is called "John G or Jimmie G . . . ")
２．主人公が、鏡で「"John G. raped and killed your wife. Kill him."」という刺青を見ただけで仇を取る（殺人）意思を持つことは有り得ない。（説明は略。Cf.Oliver Sacks）
３．主人公が、自分が「こういう症状なんだ」と説明できる事は有り得ない。（説明は略）
４．主人公が、自分が頭に怪我をした場面を覚えている事は有り得ない。（その前から記憶が欠落する。）
http://www.memorylossonline.com/spring2002/memlossatmovies.htm
plot point in Memento that doesn't quite ring true is his vivid memory of the physical attack in which he was injured.
People with anterograde amnesia often cannot remember the trauma that caused their memory loss as well as some memories of events just before the trauma.
"The Machinist" reminded me of "Memento." ("The Machinist" postdates "Memento".)
21 Grams was pretty bold in its time-scrambling...
Pulp Fiction, Reservoir Dogs --- Kubrick's The killing, Rashomon
In Holland in 1997 there was a TV-movie that told the story completely backwords.
The Harold Pinter-penned Betrayal has the scenes in reverse chronological order.
From: "Jim Beaver" IIRC George Kaufmann and Moss Hart's MERRILY WE ROLL ALONG had a reverse timeline way back in 1934. There's nothing new under the sun.
http://rogerebert.suntimes.com/apps/pbcs.dll/article?AID=/20051215/REVIEWS/51213001
I suspect that the more you know about Japan and movies, the less you will enjoy "Memoirs of a Geisha."
...
There is a sense in which I enjoyed every frame of this movie, and another sense in which my enjoyment made me uneasy. I felt some of the same feelings during "Pretty Baby," the 1978 film in which Brooke Shields, playing a girl of 12, has her virginity auctioned away in New Orleans. The difference is that "Pretty Baby" doesn't evoke nostalgia, or regret the passing of the world it depicts.
