　そのシーンだけ見ればよいものを、ついつい全編を観てしまった。何度観てもおもしろい。ほんものの俳優たちのすばらしさ。一人の人物における二重三重の心理の綾。相反する感情を同時に表現するみごとさ。いっさいの「無駄がない台詞」が詰まったドラマトゥルギー。・・・いや、きょうはそれを語るのではない。

　老母平山とみ（東山千榮子）が、夫平山周吉（笠智衆）とともに子供たちを訪ねた東京から、尾道に帰る列車のなかで、気分が悪くなり、大阪で途中下車する。三男敬三（大坂志郎）が国鉄大阪機関区に勤めているのである。しばらくぶりの長旅で汽車酔いをしたのだろうと、数日敬三のアパートに泊まる（このシーンは無い）。そして老母は回復して尾道に帰った。しばらく看護のために会社を休んでいたらしい敬三が出社した朝。上司（安部徹）に挨拶しながら経緯を話す。上司は、親孝行できてよかったじゃないかという心づもりで、「孝行したい時に親はなし」と言う。その言葉を引き取って敬三は，「墓に蒲団も着せられず」と言う。

　・・・元の句の言葉が、映画のセリフとして耳になじみやすいように変えられている。
　「時分に」が「時に」。「石に」が「墓に」と。
　この変更は、観客の耳に馴染み易くするためであろうが、じつはそうしなければならない重要な理由があるのだ。敬三の内面をこの言葉によって照射しているのである。
　次にこの連句の2度目の引用は、老母の死後の葬儀のシークエンスにおいてである。
　寺の本堂で葬儀の読経がおこなわれている。敬三が立ち上がり中座する。庫裡の上がりがまちに、虚ろに腰をおろす。戦死した次男の未亡人紀子（原節子）が心配してやってきて「どうなさったの？」と訊く。敬三は、木魚の音がポクポク鳴るたびに母の顔が小さくなってゆく、と言う。「もう御焼香ですけど・・・」「ぼく孝行せなんでね、いま死なれたらかなわんわ。さればとて、墓に蒲団も着せられずや」

　わたしが感心してやまないのは、この深刻な場面の台詞を滑稽詩である川柳を引用したことにである。深刻さを軽さでやわらげたというのではない。敬三の心理、心底疲れ果てて、悲しみさへその肉体に表現することを失い、虚ろになってしまった状態、それをこの俳諧連句で言い切っている。その敬三の姿を、紀子は、個人の意思ではどうにもならない人間の悲哀を内に秘めた心で見ているのである。

　ところで，ついでである。私は『東京物語』のこの老母の死因について、シナリオは臨床的な伏線を周到に準備していることを述べておきたい。

　最初は老夫婦が東京の長男一家（山村聰・三宅邦子）の家に到着し、旅装を解く老母に長女（杉村春子）が、「お母さん、ちょっと大きくなったんじゃない？」と言うシーンである。「そんなことありゃせんよ。この歳じゃ成長はせんよ」「お母さんは昔から大きかったから。私、お母さんが学校に来るのが恥ずかしかったもの」。・・・大きかったから、と曖昧にされているが、要するに、肥っているということ。この老母が元来大柄な女性だったにしろ、肥満の原因となるであろう食事について、この映画はところどころにちりばめている。ただしセリフだけで映像は無い。
　すき焼き（東京到着の日の夕食）。煎餅。白餡饅頭。氷あずき。親子丼（あるいはカツ丼か天丼かもしれない。映像は明確でない）。茶碗蒸し。刺身。卵焼き。他に車中の2度の弁当（尾道出発時に末娘が作ってくれたもの。東京で紀子が作ってくれたもの）。
　老母と長女のこの映画での最初の対面シーンは、もう一点重要なことを含んでいるので少し述べておこう。　
　長女は子供の頃、母が大きかったので恥ずかしかったと言い、次ぎのエピソードを語る。学芸会を見に来た母が座った椅子が壊れてしまったのだ、と。老母は、「あれはもともと椅子が壊れていたんだよ」「そんなふうに思っとるの」と長女は言い、「まあ、いいわ」と話を切り上げ、背を向けて去る。
　・・・私が注目するのは此処だ。長女の性格をこのシーンですべて観客に紹介しきっている。すなわち、さばさばしているようでありながら、そしてたしかにそのような一面はあるのだが、じつは自己中心的な底意地の悪さ、すこしやわらげて言うなら「我の強い」性格。・・・じつは杉村春子が演じるこの長女の性格と振舞が、この映画の物語のいわば狂言回し。すこしばかり錆と油とがまだらに付着する歯車が映画の物語のシャフトを回転させているのである。
　さて、老母の死因の伏線から話がそれつつある。急いで戻そう。

　熱海の海岸の突堤に坐りながら平山周吉・とみの老夫婦が昨晩眠られなかった話をする。「おまえはよう寝っちよ」「そんなことありゃせんよ」「鼾をかいてた」「そうですか」・・・「鼾をかいてた」、この台詞で、とみが脳溢血の徴候があったことを示している。そして，宿に帰るために立ち上がろうとしたとみは、立ち上がれずしばし四這いになる。「すこしふらっとしました」と。
　不眠の原因は深夜までつづいた宿の客たちによる騒音だが、これによって、とみの血圧は一気に上昇したであろう。

　葬儀後に家族だけでの直会（なおらい）の食事をしながら町医者である長男が言う。「母さんは肥っていたから」。
　・・・上述の長女とのシーンでの、「お母さんは大きかったから」という、曖昧にぼかされていたセリフは、長男のこのセリフで明確になり、死への道程の円環を閉じたのである。見事な脚本である。脚本は野田高梧と小津安二郎の共同執筆。

　俳諧・川柳を調べながら、ついつい好きな映画の話になってしまった。良く言えば「物は付け」。『枕草子』の流儀だと思うことにしよう。ハハハハ。

　この映画に出演した俳優は、香川京子氏の他はみな亡くなった。真の俳優がいなくなったと、私はなんだか気持が悄然とする。芝居をしていると思えないところが凄いのだ。ごく普通の人間としての日常を生活してきた、その人生の澱がつまった革袋としての人間を現出しているのが凄いのだ。それは、あなた自身を演じてみせてくれと言われて演じるのが非常に難しい、つまりはそういうことだが、この映画の出演俳優たちは、それを演っているのだ。普通の人間の日常生活を、演じている。・・・私が宝物を失ったように感じるのは、・・・優れた俳優の演技は、決して受け継がれないものだからだ。その人で断ち切れてしまうものなのだ。まさに一個の人間の生きている間だけの肉体表現だからである。
　香川京子さん、どうぞお元気でいらしてください。

I was investigating the renku in so-called haikai
before it became an independent poem as the haiku.
Senryu is a haikai that has become an independent
humorous poem at the same time as haiku . In other
words, it is senryu that has been separated from the
original renku and has come to be overwhelmed by
the population. In a gathering called Ren by haiku
poets, Renku is a poem in with one person adds
phrases one after another to the phrases each person
wrote, and enjoys the loose connection of the mean-
ings of the whole phrase.
The word of original phrase is a little different from
the phrase, "There is no parent when you want to be
filial piety" which some people say that the work has
survived until now. And this phrase has an even
previous phrase, " The stone is not be dressed with
a futon ." It is probably a renk of the Tenmei period
in the Edo period.

Actually, this phrase,"The stone is not dressed with
a futon , there is no parent when you want to be filial
piety," is say twice as the line of "Tokyo Monogatari
(Tokyo Story)" directed by Yasujiro Ozu. I remembered
that, but I couldn't remember exactly whether it was
exactly what the original phrase was or whether Ozu
had changed the word. So I checked on my DVD.
I should have seen only that scene, but I just
watched the whole story. It's interesting no matter
how many times I watch it. The splendor of genuine
actors. Figurative of double and triple pstchology in
one person. It's a wonderfu expression of conflicting
eemotions at the same time in an actor. Drama struc-
ture paked with "lines without any waste". ...Oh no,
I'm talking about it today.

Old mother Tomi Hirayama (Chieko Higashiyama)
and her husband Shukichi Hirayama (Ghishu Ryu)
visited their children in Tokyo, and after that, on
the train returning to Onomichi, she felt sick and got
off in Osaka, ... Her third son, Keizo, works for the
Osaka Motive Power Depot. She stays in Kenzo's
apartment for a few days (there is no such scene),
probably because she had a train sickness on her long
journey for the first time in a while. And the old
mother recovered and returned to Onomichi. The
morning when Keizo, who seems to have been absent
from work for nursing for a while, came to work. Say
hello to his boss (Toru Abe) and talk about his history.
The boss said, "There is no parent when you want to
be filial piety," with the feeling that I'm glad for you
that you are able to be filial. Taking that words, Keizo
says, "I can't even dresse a futon on the tomb."

... The words of original phrase have been changed
so that they are familiar to the ears of audience as the
lines of the movie.
"jibun ni (時分に：this time)" is "toki ni (時に：at the
time)". This is a Japanese sound problem, and "jibun
ni" is same sound as "自分に (to myself".
And "ishi ni (石に：to stone)" is changed to "haka
ni (墓に：to　tomb)". This made the meaning even
more direct.
The change may be to make it more familiar to the
audience, but in fact there is an important reason to
do so. The inside of Keizo is illuminated by this phrase.

Next, the second quote of this renk is in the se-
quence of the funeral after the death of the old mother.
The funeral chanting is being read at the main hall
of the temple. Keizo stands up and gers out of the
seat. He sits empty in the living quarters of the
temple stile. The wife of late the elder brother of
Keizo (Setsuko Hara) came worried and asked, "what
happened?" Keizo says that his mother's face gets
smaller every time the mokugyo dram sounds. "It's
alreday an incense, but. ..." " I'm filial, I wonder if
my mother should die now. I couldn't even dress a
futon on the tomb."

What impressed me was that Ozu the humorous
poem Senryu as the line of this serious scene. It's not
that the seriousness was alleviated by lightness.
Keizo's psychology, exhausted from the bottom of his
heart, lost the expression in his body to sadness, and
became empty, which is stated in this haikai renku .
Noriko (the widow) sees Kenzo's appearance with her
inner heart, the sadness of human beings that cannot
be helped by individual will.

The each phrase of haikai renku were written by
different people. The above example is called " maeku-
zuke (pre-addition), and the previous haiku poet
wrote, "The stone is not dressed with a futon ," and
passes it on to the next person. The person who was
handed over wrote,"There is no parent when you want
to be filial piety." If it was another person, he would
have added another phrase. In other words, it was
haikai renku that was very game-friendly.

By the way, incidentally. I would like to mention that
the scenario prepares of foreshadowing clinically
about the cause of death of this old mother in "Tokyo
Monogatari".

At first, the old couple arrives at the house of the
eldest son's family (So Yamamura, Kuniko Miyake ) in
Tokyo and the eldest daughter (Haruko Sugimiura)
tells the old mother who is changed her kimono as a
traveler, "Mom, have you grown up a little?". "That's
not the case. I can't grow up at this age." " Mom has
always been big. I was embarrassed you to come to
my school for parent's day." ... It's ambiguous be-
cause she was big, but in short, she's fat. Even though
this old mother was originally a large female than
standard, the movie is studded with her foods, which
may cause obesity. Although, there is no picture.
Sukiyaki (slices of beef cooked in Japanese style that
is supper on the day of arrival in Tokyo). Rice cracker.
White steamed bun with sweet bean paste. Sherbet
with sweet red beans. A bowl of rice topped chicken
with egg soup (or maybe It's a bowl of rice topped
pork cutlet with egg soup, or a bowl of rice topped
with deep-fried prawns. ...the picture is not clear).
A thick custard soup. Sashimi (slices of raw fish. A
roll of fried eggs. And two lunch boxes (made by her
youngest daughter at the time of departure from
Onomichi, and made by Noriko in Tokyo).

The first face-to-face scene of the old mother
and the eldest daughter in this movie has another
important point, so let me mention a little. It was,

She says she was embarrassed because her mom
was big when she was a kid, and she tells the next
episode. She said a school chair, on which her mom
sat when she came to see the school festival, broke.
The old mother said, "That was oruginally a broken
chair". "Do you think that way?" the aughter said,
"Well, That's okay," rounding up her story and
turning her back away.

This is where I pay attention. The character of
the eldest daughter is fully introduced to the
audience in this scene. That is, although she
seems to be sloppy, and certainly has such an
aspect, she is actually self- enterd nasty, to put
it a little softly, a personality that "carelessly
asserts itself to the thoughts of others." In fact,
the vharacter and behavior of this eldest
daughter, played by Haruko Sugimura, is the
the facilitator of the story of this movie. Gears
with a little rust and oil mottled rotate the shaft
of the movie story.

Well, my story is turning away from the hint
of the cause of death of the old mother. Let's
hurry back.

While sitting on a breakwater on the coast of Atami,
Shukihi Hirayama and Tomi's old couple talked about
not being able to sleep last night.
"You're sleeping," said her husband. "I don't have that,"
"You was snoring," "Is that so?"
...."You was snoing," with line, Tomi had
signs of cerebral hemorrhage. It is shown that. And,
when she tried to stand up to return to the inn, she
couldn't stand up and crawl on all fours for a while.
"I was a little fluffy," she said.
The cause of their insomnia was the big noise of
pleasures from the inn guests who continued until
midnight, which would have caused Tomi's blood
pressure to rise at once.
This sign of cerebral hemorrhage is also expressed
by the fact that she returned to Onomihi and was
sleeping in a critical condition, but she was breathing
like a snoring.
After the funeral, the eldest son, a town doctor,
said while having a face-to-face meal with the family
alone, "Because my mother was fat."
... In the scene with the eldest daughter mentioned
above, the vaguely obscured line "Because mom was
big" became clear in this line of the eldest son, closing
the circle of her path to death.
It's a wonderful script. The script was co-authored
by Kogo Noda and Yasujiro Ozu.

While researching haikai and senryu , I just ended
up talking about my favorite movie. To put it better
Lt's think of as the style of " Makurano soshi (Pillow
book)". Hahahaha.

All the actors who appeared in this movie died
escept Kyoko Kagawa. When the genuine ator is
gone, I'm kind of shocked. It's amazing that thdy
doesn't seem to be playing. It is amazing to see
a human being as a leather bag filled with the
baggade of one's life, who has lived his/her daily
life as an ordinary human being. it's very difficult
to play whe asked to play yourself, that is, the
actors in this movie play it. It plays the daily life
of a normal human being, ... I feel like I've losy
my treasure. ... because the acting of a good
actor is never inherited. Only for that person, the
acting of the actor will be cut off. This is because
it is a physical expression only during the life of
one human beimg.

Kyoko Kagawa san, good luck to you all!

Tadami Yamada

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