“a slap is not a slap”・エンタメ、気にしない！ハハハハ Holy Wood @ its best！"Keep my wife's name out (of) your fucking mouth!" hahaha!

ゴシップが好きだよね、人間って。母母母！！！
The Oscars 米アカデミー賞 2022：
Will Smith: “Keep my wife’s name out (of) your fucking mouth!”
(Motherfucker) Chris Rock: “Will Smith just smacked the shit out of me.”

ウィル・スミスさんがプレゼンターを平手打ち 米アカデミー賞
米ロサンゼルスで現地時間27日に開催された第94回アカデミー賞の授賞式で、俳優のウィル・スミスさんが、プレゼンターのクリス・ロックさんを平手打ちし、激怒するハプニングがありました。スミスさんの妻の髪形についてロックさんがジョークを言ったことに対し、腹を立てたとみられています。このモーメントは自動でツイートを掲載しています。

FBより：
めっちゃ気になっていたこと。
フォームが、美しすぎる。
〜〜
なるふぉど〜。美しいわけだがぁ〜。。。
話題になった動画を見て、小学校の課外学習で児童会館にお泊まりしたときの出来事を思い出してしまうのでした。
僕たちは、寝る時間になってしまったのですが、真夜中に、と言ってもきっと20時くらいが就寝時間だったように思うのです。
誰かが眠れなくなって、その眠れないのがどんどん伝搬していって、ついに夜の枕投げ大会になってしまったのね。
それは面白くて面白くてたまらない時間でしたが・・・・、怖〜い先生の見回りに出くわしてしまいました！
時間が凍りましたよ〜。いまでも覚えている。みんな野獣ににらまれている野ネズミのようにし〜んとして息を殺していたのです。
「今、まくら投げてたやつ、出てこい！！！」って声が怖い怖い。そして、ひとり、ふたりと、諦めて投降したわけですわ。
さてさて、そのあとにまっているのは、廊下に出ての　大ふくビンタ大会。
いや〜。まさにあのアカデミーの映像とダブッたのでした。
10人くらいだったかなぁ〜。
廊下に立たされて、つぎから次と平手打ち！！
最後は先生の腕時計が取れて、一同、その時計を心配そうにみていたんだなぁ〜。
本当に今なら、事件になっているけど、昔は普通だったのよね〜（笑）見事でした。見事な平手は痛くないのが不思議でした。
今なら、ウィル・スミス先生ってあだ名がついたかも・・・。

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FBの他の意見：
K.M.
ウィル・スミス氏のアカデミー賞10年間出禁。なぜ日本人はこの手の暴力に対して寛容なのかという考察が面白い。強い者を崇拝するが同時に頑張ったが失敗した人を尊重し、崇拝する傾向がある。例えば武将や新撰組の人気が高いのが不思議らしい。なるほど。そう見られてるのか
M.N.
源義経のせいですかね
…
判官贔屓ってやつですかね。
てか、言葉の暴力ってのもあると考えると、コメディアンの人もペナルティあってもいいと思いますけどね。喧嘩両成敗ってやつ？
A.K.
喧嘩両成敗
K.M.
それが日本の考え方で、アメリカは違うよってことですね。ジョークの価値も違う気がします。で、これ喧嘩ではないんですよね、たぶん

ウィル・スミスさん“妻の容姿”発言のプレゼンターに平手打ち
2022年3月28日 16時00分 エンタメ
アメリカ映画界最高の栄誉とされるアカデミー賞は日本時間の28日、各賞が発表されました。この授賞式で俳優のウィル・スミスさんがステージ上でコメディアンのクリス・ロックさんを平手打ちする騒ぎがありました。

賞のプレゼンターを務めていたロックさんがスミスさんの妻の容姿にふれる発言をすると、スミスさんは突然ステージに上がり、ロックさんに強烈な平手打ちをしました。

アメリカのメディアによりますと、スミスさんの妻は脱毛症と闘っていることを公表していたということです。

この後、主演男優賞を受賞しステージにたったスミスさんは受賞スピーチの中で「アカデミーに謝りたい。賞の候補者全員に謝りたい」と涙ながらに謝罪のことばを述べました。
https://www3.nhk.or.jp/news/html/20220328/k10013555631000.html

“a slap is not a slap”, check it out @
https://www.facebook.com/deadline/videos/481238140390973/

Will Smith slaps Chris Rock at the Oscars REMIX

Jada said that it was after separating from Will that she’d found herself in “a different kind of entanglement” with August,…

The Slap Wasn’t the Only Astonishing Thing About the Oscars
One stretch of the broadcast featured a remarkable convergence of Black celebrities, our critic writes. But in the midst of it all, Will Smith’s victory became a defeat.
March 29, 2022
This pandemic is still killing us. The virus at its center is one of the body. But it’s also costing us our minds. A sacked Capitol building, an invaded and decimated sovereign nation, a raft of refugee crises, more American murders, more overdoses, more harassment — for being Asian, for being Black, for being trans, for being on the subway, for waiting to ride the subway. On Sunday, a couple of hours before the 94th Academy Awards, I watched a man drive the wrong direction down my one-way street. He wasn’t in reverse. His car moved with confidence, with joy, as if this was the way it should be. At the end of the block, he took a right. That was the wrong way, too.
So I don’t know why I was shocked when Will Smith got up from his seat that night and slapped Chris Rock. I actually wasn’t at first. I assumed, like lots of other people, that it was a bit because, by reputation, Will Smith walks on water. And surely, the crack that Rock had just made about Jada Pinkett Smith’s short, sharp haircut — that it looked like Demi Moore’s in “G.I. Jane,” a 25-year-old work of crypto-feminist trash — wasn’t the sort of joke one risks his reputation for. But these are now the times of our lives. Anybody could snap, even a man who was once one of Earth’s most beloved humans, even a man who, before he left his seat and swung, was poised to enjoy one of the happiest nights of his 53 years by accepting an Oscar for his role in “King Richard.”
I assumed it was a bit also because of the easy way Smith strolled up to Rock and both the compact efficiency of his swing and the physics of Rock’s absorption of it. There was some choreography in it, some second nature. Smith returned to his seat and proceeded to yell up at Rock. ABC had cut the sound. But it was clear by then that we were well beyond bit territory. Rage had pooled around Smith’s eyes. Lupita Nyong’o was seated behind Smith; the agape attention in her face was all but audible. “Keep my wife’s name out your mouth,” he could be seen saying, plus the expletive I can’t print here.
So why the eventual shock? For one thing, it wasn’t Kanye West who’d lost it. It wasn’t Martin Lawrence. It wasn’t Antonio Brown, whose erratic N.F.L. antics resumed in January when, in the middle of a Buccaneers-Jets game, he removed his jersey and pads, tossed his shirt and gloves into the stands and then ran off the field flashing a peace sign (this, for Brown, was mild). The source of Sunday night’s disruption is the winner of 10 individual Nickelodeon Kid’s Choice Awards. And the shock was its disturbance of the Oscars routine, a routine that both Smith and Rock were familiar with, as a three-time nominee and a two-time host. The show wanted to settle back into its routine after Smith seemed to calm himself. That was shocking, too. The show just … went on.
And yet it didn’t, not with the same disposable exuberance. Smith’s altercation with Rock occurred with an hour to go. And it began a journey through some strange entertainment prism of the Black male experience in this country. It was dominated by ’90s hip-hop stalwarts and capped by Tyler Perry, an artist whose movies the academy had never acknowledged but who lately tends to be on hand as a kind of dignitary. He kicked off the in memoriam segment with a tribute to Sidney Poitier, who died at the beginning of the year and whose enormous symbolic appeal Smith’s most evokes.
Rock had been invited to announce the winner of the documentary feature Oscar. Once he’d regained his post-slap composure, he read Ahmir “Questlove” Thompson’s name for “Summer of Soul” — well, what he said was, “Ahmir Thompson and four white guys,” which isn’t accurate. Questlove, like Smith, grew up making music in Philadelphia. And he, too, was overcome by where he found himself — expressing gratitude to his mother and late father, considering the canonical importance of his movie, which presents the 1969 Harlem Cultural Festival as a seamless outpouring of musical rhapsody.
Then, perhaps, the show’s second most astonishing event took place. Sean Combs arrived, wiser than I’ve ever seen him. He sensed, perhaps, that maybe we’d forgotten that Rock wasn’t the actual host and that the night had gotten away from Wanda Sykes, Regina Hall and Amy Schumer, the show’s official M.C.s, and asked the room to give it up for them. He then addressed The Incident. “I did not know that this year was going to be the most exciting Oscars ever,” he said. “OK, Will and Chris, we’re going to solve that like family at the gold party, OK? But right now we’re moving on with love.” Had anyone told me that the person who might follow an altercation between the Fresh Prince and the star and co-writer of the rap parody “CB4” with an offer of conflict resolution was the founder of Bad Boy Records, that this offer would be extended at the Academy Awards, and that this person had been invited to pay tribute to “The Godfather” for its 50th anniversary, I would’ve asked whether Combs was the last star alive. He knows from beef. And in the matter of skirmishes, he appears to be a vegetarian now.
That stretch of the broadcast said something to me about both how much farther Black people — Black men, especially — had come after centuries of American entertainment that for most of its existence had ignored their work and their existence. That stretch began in tastelessness, violence and pique, included the anointing of a divine achievement in nonfiction filmmaking and ended in a gospel-oriented celebration of the lives of the dead. Something had come full circle. A lot of odds had to be beat for these men — raised poor, lower-middle-class — to converge in this strange moment, as affluent shapers of culture. But an arc on that circle has marred the whole. And I don’t think that it’s overdoing it to identify that blemish as a tragic drama.
Back in his seat, Smith waited, as per custom, for his category, best actor. The producers apparently didn’t ask him to leave. His name was called. As per custom, he took the stage and delivered a speech that has been inspected for the contrition expressed (to everyone but Rock) and identifications forged. He used it to explain that playing Richard Williams, the father of Venus and Serena Williams, had awakened in him an understanding of himself as a protector and defender — of women, of Black women. A couple of weeks earlier, he’d watched Jane Campion insult the meaning of the Williams sisters’ importance and could do nothing. And last year, he reconvened the cast of his show, “The Fresh Prince of Bel-Air,” and wept over his failure to save the job of Janet Hubert, who spent three seasons playing Aunt Viv. At the Oscars, as he spoke through tears and clutched his Oscar, the Williamses, up in their seats, seemed like passengers on a roller coaster.
Since November, Smith’s memoir, “Will,” has been one of the most popular books in the country. Its psychological centerpiece involves his guilt over seeing his father badly beat his mother when he was 9. But its prevailing psychological metaphor is the brick wall he learns to build alongside his father, his Daddio. What seemed to break on Sunday night was a kind of cycle. He watched his wife wince and perhaps saw his mother. Snap. Trauma can’t exonerate Smith: The combined age of the three people involved in this triangle is 160. But maybe it can explain that, for a few rueful minutes, a wall had come down — or gone up. Smith might have left his body. He was no longer 53 but 9 again; and poor Chris Rock, he was Daddio.
In the altercation’s wake, Smith said he received some wisdom from Denzel Washington, his fellow best actor nominee and a Hollywood sage now, one who’s been giving him advice since the beginning of his acting career. As Smith recounted in his speech, Washington said, “At your highest moment, be careful. That’s when the devil comes for you.” A shallow piece of me assumed the devil to be Rock. But we all understand what Rock was doing that night: his job, not well with that hair joke, but he was working. The devil is deeper than that. When something breaks, he gets loose. He got loose at the Oscars.
Watching Smith up there on Sunday, burying his behavior in the Williamses’ story, I’m not sure he was entirely back in his body. I’ve never experienced a victory that feels this much like defeat. I suspect he knew this, too. He wondered whether he’d ever be invited back. That feels right. He wasn’t accepting an Oscar so much as trying to turn himself in.
WHEN SOMETHING BREAKS, it’s probably best not to use your hands to pick up the pieces. But there was Smith using a hand. What happened on Sunday will be one of those live events that we’ll now spend the rest of our lives baffled by, like Justin Timberlake exposing Janet Jackson’s breast at the end of the 2004 Super Bowl halftime show. It’s been 55 years since anybody cared this much about a Hollywood slap. But when Poitier launched his against a haughty white moneybags in “In the Heat of the Night,” it was against racism. Sunday’s incident involved someone experiencing a private episode that we should never have seen.
That’s one thing about the last two years. We’ve been made privy to all kinds of behavior we’d rather not see, witnesses of people’s worst moments. Now we’ve been made privy to one of Smith’s. Most of us don’t know any of these people. Yet we kind of do. We’ve made them part of some cultural family — that’s part of how stardom works (TV stardom, especially, which, early on, is what Smith, Pinkett Smith and Rock achieved). The reason so many of us are asking one another what just happened, the reason we’re so disturbed — a reason — is that maybe these three are like family, and it hurts to watch them feud. To witness intense emotional and psychological frailty (call it narcissism if you must) is to be left with as many questions about who we are as about who, Sunday night, Will Smith became. It’s like every other mystery of these past two years. We’ll never know. And with respect to him, why do we deserve to?
https://www.nytimes.com/2022/03/29/movies/will-smith-chris-rock-oscars.html

2022/4/2
FB Lady Bunny:
You shouldn’t have to take a joke, claims the NY Times, aka “the paper of record?” Yes, you should. Especially when you’re at a televised event hosted by comedians, you and your wife are celebs–most of whom know they’re going to be the butt of jokes–and you’re nominated for a big award that night. Don’t like jokes? Then sit your @ss at home or only attend events for the extra PC so that your unhinged man isn’t “forced” to attack anyone.
Chris’s joke wasn’t rough at all, and sorry Jada, not everyone is a fan of or follows whatever show/podcast you whine about your alopecia on. Or the junk mags that want us to feel sorry for very rich and beautiful celebs’ minor health problems which could easily be disguised with wigs or extensions. People are literally claiming it’s ableist to make fun of her alopecia as if it’s a medical disability. It’s not. It may bug Jada, but her alopecia doesn’t prevent her from doing much of anything she wants. She’s had short hair for decades and she looks fantastic. So I, like Chris says he didn’t, never knew even she had alopecia. I thought she just liked her short hair look as I do. And sorry, a mild joke about a very wealthy black female star’s hair length is not punching down. It was so tame! It’s not like Chris said “The only lead role a bald-headed beesh like you could get is G.I. Jane 2. Some are claiming this whole thing out to be rooted in misogyny. Meaning what–that Will should’ve stepped aside and let his lady smack the event host herself? Um, bald guys are made fun of all the time despite some of them being sensitive towards their condition. And male baldness is so common that many bald guys make the jokes about themselves. To me, that suggests that unlike some folks at the Oscars, they’re well-adjusted.
A few extra bizarre takes:
Howard Stern: Will Smith is like Trump. Hungh? Because he lost his temper and did one thing wrong? One’s an actor and one was a president? A stretch, Howard.
Some GOP operative on twitter: “Raise your sons to be more like Tim Tebow than Will Smith.” Sheesh! I’m sure some racists will try to use these to infer that black males are violent/out of control. When they do, please remind them of this: Chris Rock–also black–was the model of restraint and professionalism.
Liberal rags that are trying too hard: Seeing a black woman humiliated at the Oscars was just like see Ketanji Brown Jackson being grilled a Supreme Court nominee recently. Um, no. Jada couldn’t take a joke and her husband went off. Ketanji is up for a lifelong position in the highest court of the land and should be asked many hard questions involving her record by both political parties. Whether your side liked the other side’s questions or not, that’s what a hearing for an important gig is, folks!
Tweeted by Get Her Jade: “Chris Rock’s one “joke” was rooted in misogynoir, texturism, & ableism. Degrading a Black woman in a room full of her peers, on live TV. The fact that y’all don’t see that as violent is beyond me.” Really? Mild words are now violent? Then perhaps this gal thinks Will was justified to escalate “violent” words into actual physical violence? I don’t.
I’ve literally seen people I know claim it was “romantic” for Will to physically defend his wife. At a joke he laughed at before Miss Priss rolled her eyes at it? If violence is what you call romance, I’d prefer the flowers and chocolates approach, please. Maybe Will was more upset that his wife’s publicly been talking about cheating on him because he didn’t satisfy her sexually any more…
I do understand a guy taking up for his wife who has been disrespected in other situations. At the supermarket or gas station by a stranger, etc. Not where a professional comedian has a mic and is on stage hosting. Not at a televised black tie affair, where you just proved that with all your money and stardom, you lack so much self-control that a weak joke turns you into an unhinged brute smacking someone, cursing and probably hurting your own super-successful career.
Unless of course, faced with dropping ratings, the Oscars’ staged this to boost them. Unlike many, I have never taken much of an interest in the Oscars, rarely see the films nominated, so I’m not concerned with which films “the Academy” deems must-see so that the winners can make more pay on their next ventures. So I’m not in the camp of those who think this wonderful annual awards show has been brought down forever by Will’s slap. One thing I’m sure of, though. If Jada is this sensitive, I can’t imagine how she struggled when her daughter had a hit song about whipping her hair back and forth–when her mama doesn’t have any hair to whip! How could Willow be so thoughtless, ableist, ageist and misogynistic to violently bully her own mom like that? The answer? She didn’t bully Jada with that song, and neither did Chris with that joke. Here’s what Jada said on tik tok a couple days before the event: “I don’t give two craps what people feel about this bald head of mine. Cuz guess what? I love it.” But there’s a ton of people “protecting” a rich, black, female celeb from Rock’s alleged “violence.” I wish a fraction of these protectors were uplifting black women by pushing for a $15 min wage, affordable healthcare and cancelling student debt–since all of these would disproportionately uplift many black women’s day-to-day living conditions. In ways which evaluating a lame joke never could.

up-date 2022/4/16

「ウィル・スミスの平手打ちは妻を守った」に違和感　「男らしさ」の時代錯誤
2022.04.16 サンドラ・ヘフェリン、コラムニスト

3月27日、アメリカの俳優ウィル・スミスが第94回アカデミー賞授賞式の壇上で、コメディアンのクリス・ロックに平手打ちをしました。
きっかけは、ロックが、会場の前列に座っていたウィル・スミスの妻で、脱毛症であることを公表しているジェイダ・ピンケット・スミスの短髪について、悪質なジョークを発したことでした。
平手打ちをされた後、ロックはぼうぜんと立ち尽くし「ジョークだったのに」と釈明しましたが、ウィル・スミスは「妻の名前を口にするな！」と怒鳴り、怒りが収まる気配はありませんでした。
ウィル・スミスの平手打ちについて、日本でも海外でも広く報道されました。筆者はそのなかでも「ジェンダーの視点から見たコラム」に着目しています。
ドイツのStern誌の編集者であるSarah Stendel氏は、「愛の名のもとで行われる暴力。なぜウィル・スミスのスピーチは事態を悪化させたのか」というタイトルの記事の中で、自分の妻を所有物とみなす男性が、第三者に妻を侮辱されたとき、「暴力で解決した気になる」危険性について指摘しています。
そして、それは「妻が悪いことをしたから、妻を殴った」と語るDVの加害者男性と同じ思考回路であると書いています。
Stendel氏は「ドイツでは平均すると2日半に1度、男性が女性の配偶者または元配偶者を殺害している」「女性の3人に1人が、人生に一度は暴力や性暴力の被害に遭っている」という事実に触れ、「女性の名をあげ暴力をふるう男性にはウンザリ」と切り捨てています。
ウィル・スミスがロックに平手打ちをした後、壇上で涙を流しながら「愛というものは、時に我々を狂わせる。（中略）自分の人生は人を愛するためにあるものだ」などと語ったことについて、Stendel氏は「平手打ちを弁明した際に『愛』という言葉を持ち出したこと」を非難し、一連の行動は「有毒な男らしさ」だと書きました。
今回の騒動を受け、日本では「暴力はいけないけれど、ウィル・スミスは彼なりに妻を守った」という声もありました。
でも筆者は暴力がいけないのはもちろん、そもそもこういった場で「男性は妻を守らなければいけないのか？」と疑問に思います。
女性も自らの言葉で語ることができるわけですから、自分が侮辱されたと感じたら、自分でそのことについて声をあげ苦情を言うことができるわけです。
そして女性が声をあげたら、男性がそれを応援してやることこそが「女性の役に立つこと」です。妻の気持ちを代弁した気持ちになって、男性が勝手に行動することを「頼もしい」とする風潮に違和感を覚えます。
騒動の後、ウィル・スミスは反省し、アカデミー協会の退会を表明しました。
今回の平手打ちは「タイミング」の面でも最悪でした。前述のStendel氏は「世界中が『男による暴力』に震撼している今のタイミングで『男性が自らの強さを暴力で見せつける』ことが問題」だとし、ロシアによるウクライナ侵攻にも触れています。
アカデミー賞授賞式でウィル・スミスがステージに上がる直前、ウクライナの人々をおもんぱかり、会場では黙祷が捧げられたばかりでした。
我々はいま映像を通して「暴力はいけない」ということを毎日のように感じ取っているはずです。でも欧米でもウィル・スミスのビンタ事件について、「妻を守った」「妻をかばった」「愛の証」といった、いわば「昔ながらの男らしさ」を絶賛する声が一部にあるのです。
もちろん全体的な流れでいえば、いま世の中は男女平等に向かっています。
けれども今回のような出来事があると、世間ではいまだに「男らしさ」が美化されやすいのだと感じました。
「女性の気持ちを代弁した気になり暴力に訴える男性」について、世間でそれを称賛するような風潮には気をつけたいものです。
https://globe.asahi.com/article/14593897

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DRIVE MY CAR – Trailer

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でも、こちらの厳しい批評も気になりますね。

https://www.facebook.com/photo?fbid=5109611135767457&set=a.764158420312772
Tetsu Yamazaki
7h ·
✍️3月31日　先日、四谷シモンさんから電話をもらったとき、『ドライブ・マイ・カー』を観たか、てつちゃんの感想を聞きたいと言われたので、観にいった。近くのセブンパーク・アリオの東宝シネマ館でたまたまやっていたので(ちなみにシモンさんはまだだそうな🤣)　うーん、東宝シネマ館かあ、原作・村上春樹かあ、臭いんだろうなあ、と思ったが、わがシモンさんの依頼だから観にいかない訳にはいかない。てんで観たのだが、案の定、観ていられなくて途中で出てしまった。すいません、シモンさん😆　手話語りのイ・ユナをやっているパク・ユリムをはじめ、国外の俳優は観ていられるのだが、日本の俳優が私には観ていられないのだ。感情を禁じる素読み=喋りで喋るのだが、それがもうお芝居臭くてお芝居臭くて、しかも人間が傲慢に見えて耐えられないのだ。パク・ユナら国外俳優は素直にやってて、ちゃんと人間感じるのにね。なんだろ？😅　いくらなんでも映画やドラマ、演劇やってる俳優ほど、そこいらにいる日本人は酷くないよ。実際、ホラ、映画館を出てアリオ内で遊んでる子供たちや、買いものしたりしてるおとなたちを見てると、人間を感じてホッとするんだよね😘　「ワーニャ叔父さん」(チェーホフ)などの舞台を多言語で喋らせるのも話題になってるみたいだけど、なんなの、いったい？　それぞれが母国語で喋るったって、台本があってすでに相手の喋る科白はわかってる訳だから、べつにどうってことないでしょ？(笑)　俳優の一人が言ってたけど、そうすると相手の科白を聞くようになる？　正直、阿保かと思うよね。普段からいかに喋るかばっかりやって、相手の科白を聞こう、演技の基本は聞く(聞き-わける)ことだってことを知らずにやってきたからだろ！　てことがよくわかるよなあ。日本の俳優はみんなそんなことやってるけど、私からすると正直笑うしかない。ついでに言っておけば、日本の俳優は例によって声(言葉)が肚に落ちてない。言葉が自分の言葉になってないんだよね。自分がない。テクニックをやろうとしてる。アチャーだよね🤣　国外の俳優と見比べて見ているとよくわかる。と言われても、日本の俳優にはわからないんだと思うが。映像もひどい。私が観たのは広島までのところだが、ペッラペラだよなあ、映像が。街だって人間と同じで、ここまで酷くはない。もっと立体感もあるし現実感(人間たちの傷跡)もある。実際に映画館、あるいはアリオの外に出ると、それを感じるよね。なんだろ？😝　座席に座ってしばらくすると、幕間だと言って子供向けみたいな、アニメみたいな映像がいろいろ流されて、それだけでもううんざりしたけど、本作もそれらの映像とどう違うの？　って感じ。まあ、そんなことを私が書かなくても、映画やドラマ、演劇などとはなんの関りもないところで生きているひとたちは、とっくにそんなことわかってるんだと思うよ。わかってるから邦画はもう観ない？　実際、本年度のアカデミー賞をもらったはずなのに、お客さんは10人にも満たない状態😢　正直と言うか、賢いと言うか。買い物したり、わが子たちと遊んでたりするほうがめちゃ楽しいよね。それでいいんだと思うよ、私は😅　というのが私の感想です、シモンさん。最後まで観てないのでよくわかりませんが(笑)

Tomomi Morishima
やっぱり観るのはやめます！
あまりに絶賛されているので
天邪鬼のあたしは迷っていました。
映画館に観に行って、なんで？と想うのに疲れちゃっていますので、観ないことにします。そもそも村上春樹が受け付けないのが1番の迷いの理由ですが。
昨日も信頼する衣裳さんとこの映画、どう？観る？という話をしたばかりです。

Shuso Yachi
ほんとうに気持ち悪い映画でした。
外国で評判がいいのは、日本人の声を聞き慣れていないからではないか。
つまり「字幕」でストーリーを追っているからではないのか、と思う。
どんな国のことばでも(ことばがわからなくても)、ほんとうは声だけでつたわるものかあるけれど。
ブロードウェイ、オフ・ブロードウェイ、オフ・オフ・ブロードウェイでつづけて芝居を見たとき、「声」の違いにいちばん驚いたけれど。
誰も「声」を聞かず、「意味」を追いかける時代になったのかも。
https://blog.goo.ne.jp/shokeimoji2005/e/d8a77e4e30e1feb12079c7ea1673478d

Tetsu Yamazaki
そうだと思います。私は演技を教える場合、自分の声を大事にしろ。その声は世界に一個しかないんだ。声自体が自分を表してるんだ。表現なのだと教えてます。実際、芝居でも映画でも、その人の声がちゃんと出てれば、それだけでそれなりに観ていられると思います。その声が出ていない。という事が上に書いた「自分がない」ということを意味してると思います。ついでながら、日本の俳優はみな声の出所が違ってます。て事は、物語を、その場での出来事を共有できてないってことですよね。この映画は「日本人がコミュニケーションを取れなくなったことを表現しようとしている」と、サイトを読むと書かれてますが、やってる俳優たち自身がそれをやってる訳だから無残ですね、私から見ると。そんな無残なもの観たくないよ、という気持ちになりますね、私は😢　私はいろんな国の映画を膨大に観てますが、いまそんなことをやってるのは正直日本だけだと思います。

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His Art Majesty Masashi Shiobara can call himself now the COOOLEST GUY in Japan as he drove the SAAB 900 Turbo in former times!
Quote from today on fb: Masashi Shiobara “I used to drive Saab 900 Turbo!!!!!!!!”
Next year he will be awarded with the Imperial Prize of the Japan Academy 恩賜賞！！！Super cool congrats!

Let’s not forget, we are living in a time of a Russian war in Ukraine.