我是开豆腐店的，我只做豆腐（《东京物语》《秋刀鱼之味》等不朽电影导演——小津安二郎亲自写就的人生故事！）

by Yasujiro Ozu, 小津安二郎

★导演小津安二郎亲自写就的人生故事，收录珍贵文字，连缀成电影大师的光影人生，揭示《东京物语》《茶泡饭之味》等不朽影片的创作秘密，亲述物哀之美等小津风的形成来由，更有小津鲜少言及的人生故事。
小津安二郎一生坚持“电影是以余味定输赢”的信条，脚踏实地只开自己的“豆腐店”——通过摄影机深入思考事物，找回人类本来丰富的爱，找回属于人的温暖，并将这种温暖表现在画面上。
每个热爱生活、热爱电影的人都会被小津打动，他的电影里流动的情感既深刻又强烈，因为它们反映了我们关心的事情：父母和孩子，婚姻和独居，生和死，以及相互之间的关怀。
★小津谈生活、谈人生、谈电影，呈现真诚执着的“豆腐匠”姿态——
★“有人跟我说，偶尔也拍些不同的东西吧。我说，我是‘开豆腐店的’。做豆腐的人去做咖喱饭或炸猪排，不可能好吃。”
★全新收录《蓼科日记抄》《看护日记》，以及小津安二郎多张珍贵生活照 ★小津是天生的造影者，从喜剧拍到悲情，跨越地域与时间，没有哪位导演比他更具日本风味。——《电影旬报》
★小津的全部作品对我来说简直是一部长达一百小时的电影，而这一百小时在我心里是世界电影中神圣的宝藏。——维姆·文德斯
★小津的《东京物语》是伟大的家庭电影。——李安
★小津的克制成就了东方电影之美。——贾樟柯
★曾经我还开玩笑地说，我成了老太婆之后，如果是先生的电影，要让我出演配角哟。但一想到先生已经不在这个世上了，就悲伤不已。——原节子
★每个热爱电影的人早晚都会遇上小津。他的电影里流动的情感既深刻又强烈，因为它们反映了我们关心的事情：父母和孩子，婚姻和独居，生和死，以及相互之间的关怀。——罗杰·埃伯特
★没有一个导演比小津更接近至高的境界。——大卫·波德维尔 小津安二郎（1903-1963）
电影导演。生于东京，1923年进入松竹蒲田制片厂，1927年正式成为导演。2002年，被英国《视与听》杂志评选为“十大电影导演”之一，在该杂志评选的“十大电影” 中，其作品《东京物语》名列第三；在日本《电影旬报》2000年评选的“二十世纪十大日本导演”中，小津位居第二；该杂志2009年评选的“日本百佳电影”中，《东京物语》拔得头筹。德国导演维姆·文德斯说：“如果我来定义为什么发明电影，我会回答，‘是为了产生一部小津电影那样的作品’。”

Genres: Film, Japan

214 pages, Kindle Edition

Published December 1, 2018

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。