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自分が読んで興味深く感じた英文記事を中心に取り上げる予定です

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Woman of the Yearに選ばれたのは

 
Vanity Fairは動画でもMiyaviをメインで取り上げています。いやあ男前です。。。



Unbroken Featurette: How Miyavi Became Watanabe
Angelina Jolie discusses casting Japanese musician Miyavi as the vicious P.O.W. camp guard Watanabe—not because he would enjoy playing a villain, but the exact opposite.


先月のVanity FairはAngelina JolieをWoman of the Yearに選んでいました。4000語近くの記事で、Unbrokenの撮影とブラピとの結婚や家族のことを中心に描いています。

Woman of the Year
She’s a newlywed mother of six, a superstar with little trace of the diva, a woman who bears witness to the terrible things people do even as she continues to celebrate the human spirit. Whether advocating for refugees or directing the forthcoming World War II survival epic, Unbroken, Angelina Jolie lets Janine Di Giovanni accompany her around the globe, discussing kids, marriage, war, and the hero she just lost.
BY JANINE DI GIOVANNI
NOVEMBER 17, 2014 11:23 AM

そんな記事でもMiyaviのことを結構大きく取り上げています。

Jolie is now shooting scenes that depict those brutal days. Given the grim realities that the film explores, the atmosphere on the set is subdued, even somber. The skinny guys look haunted. In their trailers, the lead actors are also deep into character. Louis Zamperini's real-life nemesis was a vicious sergeant named Mutsuhiro Watanabe. For this role, Jolie has cast Miyavi, a striking Japanese pop star (real name: Takamasa Ishihara). Miyavi, 33, recalls that Jolie encouraged him to delve into the mind-set of the guard, so much so that after one particularly intense scene—which required him to beat Zamperini—he says he felt such physical revulsion he ended up vomiting. “It was awful torture for me to hate the other actors—I had to have hatred for them. When I had to beat them, I had to think of protecting my family. At the same time I didn't want to be just a bad guy. I wanted to put humanity in this role. [Mutsuhiro] was both crazy and sadistic, but also weak and traumatized.”

When Miyavi met Jolie in Tokyo (“At a nightclub!” he says, as a joke), he was unconvinced he could take on the role. “It's a story that is still painful for my country. But she told me she wanted to make a bridge between all countries that had conflict. She was very persuasive.” Even so, he confides, after filming some of the more violent torture scenes, “I couldn't stop crying.”

Unbroken, as it turns out, is a $65 million movie, with Oscar ambitions, Universal's imprimatur, and a rarefied pedigree. (Joel and Ethan Coen worked extensively on the script.) It's an entirely different film from Jolie's last directorial effort, In the Land of Blood and Honey. That picture, from 2011—while startling and powerful—was much more low-key and way less Hollywood.


日本軍を描いた映画というとイーストウッドの硫黄島からの手紙が思い出されますが、むしろThe Hillという映画に影響を受けたそうです。



This set, in fact, looks like something Clint Eastwood might have devised for his World War II diptych, Flags of Our Fathers and Letters from Iwo Jima. (Eastwood directed Jolie in one of her most stunning performances, as a grieving mother, in Changeling.) Jolie, however, says she sought inspiration less from Eastwood than from Sidney Lumet's 1965 film The Hill, a gripping wartime drama with Sean Connery set in a British military prison in North Africa.



やっぱり彼女は別格ですごいと思うのは、撮影の合間でも難民キャンプに赴き、国連の会議に出席したりしていることです。戦争の悲惨さを現地で目の当たりにしているんですよね。

The Bekaa Valley, Lebanon February 2014
In February, she takes a break from editing Unbroken in L.A. and lands at the Beirut-Rafic Hariri International Airport. Upon arriving, there is much hand-shaking, picture-taking, and government protocol. But she is unassuming, dressed in her standard field uniform: slim pants, ballerinas, and a loose blouse. She sticks to black, white, navy, and gray; they travel more easily.

She actually looks cheerful, despite the fact that she has just flown 7,500 miles—after logging long hours locked in an editing suite. She is a tight hugger. When I tell her she looks great, she shrugs and says, “It's good concealer.”

We head up to the Bekaa Valley. The refugee crisis here is dire, with more than two million (by this writing, in early fall, more than three million) people having fled the war in Syria for Jordan, Turkey, and elsewhere—many to Lebanon. Jolie spends the next day with children who have been displaced, seeking ways to cut through the red tape and helping to prioritize their needs for policymakers who are in a position to assist them. The following day, en route to a meeting with the prime minister of Lebanon, she makes a point of stopping off in the U.N.H.C.R. field office to have breakfast with the local personnel. One of the officers, who organizes the cars that shuttle between Beirut and the Bekaa, is longing for a photo of himself and Jolie—for his mother, he says. A sizable gathering of senior staff and local politicians is waiting to talk to her. But the moment she hears his request, she walks over, smiles brightly, and poses.

“For your mother,” she says.


ちょうどブラッドピットの映画Furyが公開されているところですが、撮影中は第二次大戦の頃のように手紙でのやり取りをしていたそうです。監督デビュー作にも触れていますが、現地を訪問するだけでなく、元外交官から歴史を学んだりしたんですね。

Just over a year ago, Brad Pitt was still her fiancé, starring in another World War II film, Fury, half a world away, in England. And the two would exchange handwritten notes—sending them off by regular mail—because that's what couples did during the war. Such details, and authenticity, are important to Jolie. In Bosnia, while shooting In the Land of Blood and Honey, she spoke to journalists who had reported on the war extensively to make sure that the radio reports in the film were portrayed accurately. She studied the history of the former Yugoslavia and conferred, on occasion, with veteran diplomat Richard Holbrooke, who had served as President Clinton's envoy to the Balkans and, later, as special representative to Pakistan and Afghanistan, reporting to Secretary of State Hillary Clinton. In a similar way, Jolie preps thoroughly for her humanitarian missions, getting briefed by trusted advisers at the U.N., by foreign-policy experts, and by colleagues from the Council on Foreign Relations, of which she is a member. Not too many people in the Directors Guild of America can say that.

今週のJapan Timesではこの映画に対する日本での反応を記事にしていました。原作は日本にCannibalismがあると間違って認識しているというセンセーショナルな部分を中心に取り上げられているようです。

NATIONAL
Japan loves Jolie but will it welcome ‘Unbroken’?
BY YURI KAGEYAMA

Especially provocative is a passage in the book that accuses the Japanese of engaging in the cannibalism of POWs. It is not clear how much of that will be in the movie, but in Japan that is too much for some.
“There was absolutely no cannibalism,” claimed Mutsuhiro Takeuchi, a nationalist-leaning educator and Shinto priest. “That is not our custom.”

Takeuchi acknowledged Jolie is free to make whatever movie she wants, stressing that Shinto believes in forgive-and-forget. But he urged Jolie to study history, saying executed war criminals were charged with political crimes, not torture.


確かに日本の歴史についての知識は足りない部分があるかもしれませんが、彼女は現在進行形で戦争の問題に関わっています。普通の日本人よりは戦争がどんなものか知識も経験もずっとあるでしょう。もちろんだからといって映画がいいものになっているかは別問題ですが。。。

The release of “Unbroken” comes at a time when some in Japan are downplaying its colonization of its Asian neighbors and the war of aggression waged by the Imperial Japanese Army as it entered World War II.

For example, some politicians dispute the role played by Imperial Japanese soldiers in the 1937 Nanjing Massacre, in which an estimated 300,000 Chinese were killed in a weekslong orgy of rape and murder. They say the tally is a vast overestimate.

Similarly, they reject historical studies that show women from several countries, especially Korea, were forced into prostitution by the Imperial Japanese military. Some oppose the term “sex slave,” which the U.N. uses, preferring the vague and euphemistic term “comfort women” instead.

Vanity Fairの記事を読むとボランティア活動のポーズだけのハリウッド女優という一般的なイメージとは全くちがう彼女の側面を知ることができます。英語学習者にもうじゃうじゃいますが、外の世界への関心がほとんどなく、都合の悪い現実は見ないという人たちの方がはるかに恐ろしい気がしてならないです。。。
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