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Жизнь и работа Ясудзиро Одзу

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once again curls up
through the lingering maple leaves.
Though I am no Ishidomaru,
the brevity ofhuman life,
fleeting as a bubble on water,
presses through my abstracted daze.
But to the night's lodgings and dinner
my thoughts quickly drift.
Eager to eat, eager to drink,
there's no use in lingering.
I descend from Koya's mount
in indecent haste.
Here and there lamps flicker to life
as dusk descends on the monastery.
On the altar, left behind,
one tiny urn.
In it, my mother's ashes.
How cold she must feel.''
Ozu often said,
''Actors shouldn't do their own thing,
trying different things on each take.
I'm the gardener. I'm the one
who prunes the trees and shrubs
according to how I want them
to look in the end.
I can't have the trees and shrubs
moving or growing however they want.
If they do that,
I can't prune them properly.''
Ozu worked as if
he were directing a puppet play.
He moved the actors
precisely as he wished.
But the only way inanimate puppets
can move a human audience
is if their operators
are able to give them souls.
Ozu was trying to do
the same with his actors,
to give them souls
according to his vision,
and to capture them on film.
I think that's what
he was trying to do.
Ozu was famous
for requiring lots of takes,
FUJIO SUGA -ACTOR
and your performance gets stiffer
as you repeat it over and over.
Ozu said, ''An actor has to be able
to do the exact same thing twice.
And another thing.
If an actor just does what he thinks will
be good, it'll almost always look bad.''
That's what he used to tell me.
Ouch.
Ozu told me I had
a traditional kind of sex appeal,
MUTSUKO SAKURA -ACTRESS
so I wasn't suited
to roles in Western clothing.
He said I should play a chic young woman
from Tokyo's old merchant district.
That's why he cast me in Tokyo Story
as a woman who owns a traditional eatery.
I don't remember him
ever giving me a hard time.
SHINICHI ROMIKAMI -ACTOR
And when I think about why,
I suppose he probably thought
it useless to try to train me.
But he did often invite me
to go drinking.
I think he probably thought
that was all I was good for.
On April 10, 1963,
Ozu was hospitalized with
a growth in his throat.
NURSING DIARY- KEIJI SADA
July 1 , 1963.
SADA'S DAUGHTER, KIE NAKAI -ACTRESS
The 82nd day in the hospital.
After the operation on April 1 7,
he undetwent additional therapy
with cobalt and radium.
I've heard such therapies
are used for treating cancer.
''In all my 60 years,'' he said,
''I never thought time moved slowly.
But I have no words to describe
how long this last week felt
with this needle in me.''
After the needle was taken out,
he had lost so much weight
I hardly recognized him.
''No words to describe it,''
he repeated over and over.
September 5, 1963.
The doctors informed us
that Ozu is suffering from cancer.
Cancer. It really was cancer.
Several of us who knew him best
discussed what to do.
We were determined to help him
beat the cancer.
September 15, 1963.
I told Ozu I had no pictures
ofhim with my son
and used that as an excuse
to take his picture.
His gray beard had grown out,
and he looked painfully weak.
I steeled myself
and pressed the shutter.
September 20, 1963.
''There's no index for pain,''
he remarked.
''I can't say my pain today
is 100 or 112.
All I can say is that it hurts.
There is no other way
to describe pain.''
He sounded very frustrated.
November 14, 1963.
My daughter Kie's
Seven-Five-Three Festival.
I took her to the hospital
wearing a kimono Ozu had chosen for her.
He was asleep when we arrived.
I thought about leaving,
but I took her in anyway to let her
see his face, and he woke up.
''
Жизнь и работа Ясудзиро Одзу Жизнь и работа Ясудзиро Одзу

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