紐約時報2015年報道：原節子，黒澤明和小津安二郎電影裏的明星，逝於95歲

（下麵是紐時原文的翻譯，圖也是原文中的，違刪） 

日本最受愛戴的女演員之一原節子於2015年9月5日在鎌倉去世，享年95歲。她最著名的角色是在由小津安二郎導演的《晚春》，《東京故事》和其它電影中扮演的掙紮於家庭責任和自己的願望中的婦女。
  共同社在星期三宣布了她去世的消息，稱她的家庭成員一直等到那天才向公眾公開這一新聞。
  原女士15歲開始演藝生涯，1937年在德日聯合出品的《新樂土》中第一次演主角。她飾演一名被未婚夫拋棄後想跳進火山口的年輕女士。
在參與了一批戰爭宣傳片後，她在黒澤明戰後第一部電影《我對青春無悔》中飾演一位大學教授的女兒，這位理想主義的女兒，把自己的命運押在了一名反對日本軍國主義的左派學生身上。
  從1949年的《晚春》開始，原節子與小津安二郎合作了12年，這部電影，和《東京故事》一樣，普遍被認為是小津導演的巔峰之作。她在電影中出演一位年輕婦女紀子，不顧家族催婚，留在家裏照料喪偶的父親，一方麵出於奉獻精神，一方麵則是出於對外麵世界的恐懼。
《東京故事》是評論家的各種曆史上最偉大電影名單上經常出現的一部經典。原節子扮演一對老年夫婦的守寡的兒媳婦。公婆去東京看望子女，卻隻在因戰爭喪偶的兒媳婦身上感受到關懷和忠誠。
  David Thomson在《The New Biographical Dictionary of Film》中寫道：“象嘉寶一樣，原節子代表了理想的女人味、高貴和慷慨的一種形象”。同樣與嘉寶相同的是，原節子也與公眾保持距離。
  在出演小津導演的倒數第二部電影《小早川家の秋》（1961年）後，原節子突然退隱，她在她最後一次新聞發布會上暗示，她演電影隻是想供養自己的大家庭。她在晚年隱居於鐮倉。
  讀賣新聞的文藝副編輯近藤隆在該報的英文網上回憶說他數次訪問過原節子的家，每次都被一個親戚勸退，且被告知：“她在這裏，身體很好”，“她不接受任何采訪”。他說他手下一位記者在一次1992年的電話采訪中從原節子口中得到幾個字：“我不是唯一的明星。過去，每個人都是明星。”
  原節子於1920年6月17日生於橫濱，原名會田昌枝（Masae Aida），15歲時，在姐夫，導演HisatoraKumagai的鼓勵下從高中退學，去Nikkatsu Studio工作。有人還給她起了個藝名。她在《年輕人，別猶豫》中第1次登上銀幕。
  她擅於表現具有不可動搖的責任心的悲劇女英雄，這使她成為戰爭片的理想主角，比如今井正導演的《瞭望塔的敢死隊》，她與他還在《青山脈》中合作，以及渡邊邦男導演的《大空決戰》。
  她的戰爭片在日本協會3月舉辦的“最美麗：山口淑子和原節子的戰爭片”上展出。山口淑子女士去年逝世了。
  兩部電影捕捉到了戰後幾年的艱難和在廢墟中重建的可能性。在吉村公三郎導演的《安城家の舞踏會》（1947年）中，原女士扮演一家被戰爭毀了的知識分子家庭裏的女兒，這個家庭被迫放棄了家裏的大宅院，去尋找一種新的生活方式。一個更具諷刺性的角色來自木下惠介導演的《小姐幹杯》（1949年），她扮演一個沒落貴族家庭的女兒，跟一位不修邊幅的工廠老板發生戀情。
  小津談到原節子時說：“每個日本男演員都能演士兵，每個日本女演員都多少能演個妓女。但是，很不容易找到能扮演良家女兒的女演員。”原女士從沒結婚，也沒有直係親屬，她拍了100多部電影。她與導演成瀬巳喜男合作了好幾部電影，出演過小津的《麥秋》（1951）、《東京暮色》（1957）和《秋日和》（1960）。
  她於1951年與黒澤明合作，出演基於陀思妥耶夫斯基小說《白癡》的同名電影。她是由三船敏郎扮演的男主角的對象。這部電影反應不太好。她退休前最後一部電影是導演稲垣浩的《忠臣蔵》，47浪人的經典故事的新演繹，一幫18世紀的武士決心要為死去的主子報仇。她退隱之後，電影觀眾一片哀鴻。對他們來說，原女士不僅是演員，在某種程度上，她就是日本魂。小說家遠藤周作寫他看原節子電影的感受：“我們會一聲歎息，或從心底呼出深深的一口氣，因為我們會情不自禁地想：世界上真的會有這樣一個女人嗎？！”

下麵是紐約時報的原文：
Setsuko Hara, Japanese Star of Films by Ozu and Kurosawa, Is Dead at 95
By WILLIAM GRIMESNOV. 27, 2015

（鏈接）

Setsuko Hara, center, in “Tokyo Story” (1953), directed by Yasujiro Ozu, with whom she had a 12-year collaboration. Ms. Hara began acting at 15 and retired from film in the early 1960s. Credit Janus Films

Setsuko Hara, one of Japan’s most beloved actresses, best known for her subtle portrayals of women torn between the demands of family and their own desires in “Late Spring,” “Tokyo Story” and other films directed by Yasujiro Ozu, died on Sept. 5 in Kamakura, near Tokyo. She was 95.
The Kyodo News Agency announced her death on Wednesday, stating that family members had waited until then to make the news of her death public.
Ms. Hara began acting at 15 and appeared in her first major role in 1937 in “New Earth,” a German-Japanese production in which she played a young woman who, rejected by her fiancé, tries to throw herself into a volcano.
After making wartime propaganda films, she appeared in Akira Kurosawa’s first postwar film, “No Regrets for Our Youth,” playing the idealistic daughter of a college professor, who, in the Japan of the 1930s, throws in her lot with a leftist student opposed to the country’s militarism.
Her 12-year collaboration with Ozu began in 1949 with “Late Spring,” widely regarded, like “Tokyo Story,” as one of the director’s supreme achievements. Ms. Hara played a young woman, Noriko, who ignores her family’s pleas that she marry, choosing instead to care for her widowed father, partly out of devotion, partly out of fear of the world outside her home.
In “Tokyo Story” (1953), a perennial on critics’ short lists of the greatest films ever made, Ms. Hara played the widowed daughter-in-law of an elderly couple who come to visit their children in Tokyo, but find tenderness and devotion only in the woman who married their son, a casualty of the war.
“Like Garbo, Hara came to represent an ideal of womanliness, nobility and generosity,” David Thomson wrote in The New Biographical Dictionary of Film. And like Garbo, she held her public at a distance.
Not long after working with Ozu on his penultimate film, “The End of Summer” (1961), she left the cinema abruptly, implying, in her final news conference, that she had acted in films only to help support her large extended family. She lived the rest of her life in seclusion in Kamakura.
Takashi Kondo, the deputy culture editor of Yomiuri Shimbun（讀賣新聞）, recalled on the newspaper’s English-language website that he had visited her home several times, only to be turned away by a relative who told him, “She’s here and in good health” and “She doesn’t give any interviews.” One of his reporters, he said, did coax a few words out of Ms. Hara in a 1992 telephone conversation. “I was not the only star shining,” she told him. “Back then, everyone was shining.”
Ms. Hara was born Masae Aida on June 17, 1920, in Yokohama. She was given a stage name when she began working at the age of 15 for Nikkatsu Studios, having dropped out of high school with the encouragement of her brother-in-law, the director Hisatora Kumagai. She made her debut in “Do Not Hesitate, Young Folks!”
Her flair for portraying tragic heroines with an inflexible sense of duty made her an ideal star in wartime films like “The Suicide Troops of the Watchtower” (1942), directed by Tadashi Imai, with whom she would later make “The Green Mountains” (1949), and “Toward the Decisive Battle in the Sky,” directed by Kunio Watanabe.
Her wartime films were featured in March in a series at the Japan Society, “The Most Beautiful: The War Films of Shirley Yamaguchi and Setsuko Hara.” Ms. Yamaguchi died last year.
Two of her films captured the rigors of the immediate postwar years and the possibility of renewal amid the ruins. In “A Ball at the Anjo House” (1947), directed by Kimisaburo Yoshimura, Ms. Hara played the daughter in a cultured family, ruined by the war, that must give up its mansion and find a new way to live. A more satirical role came in Keisuke Kinoshita’s “Here’s to the Girls” (1949), in which she was the daughter of a down-at-the-heels aristocratic family romantically paired with an uncouth factory owner.
“Every Japanese actor can play the role of a soldier, and every Japanese actress can play the role of a prostitute to some extent,” Ozu said of her. “However, it is rare to find an actress who can play the role of a daughter from a good family.” Ms. Hara, who never married and leaves no immediate family members, made more than 100 films. She worked with the director Mikio Naruse on several movies and with Ozu on “Early Summer” (1951), “Tokyo Twilight” (1957) and “Late Autumn” (1960).
She teamed up with Mr. Kurosawa for a second time in 1951 in “The Idiot,” based on the Dostoyevsky novel. She was cast as the love interest of the title character and of a roguish aristocrat played by Toshiro Mifune. The film was not well received. Her last film before her retirement was Hiroshi Inagaki’s “Chushingura,” a retelling of the classic tale of the 47 ronin, a band of 18th-century samurai bent on avenging their slain leader. When she went into seclusion, Japanese filmgoers mourned. To them, Ms. Hara was more than an actress; she was, in some way, the soul of Japan itself. The novelist Shusaku Endo（遠藤周作） once wrote, of seeing a Hara film, “We would sigh or let out a great breath from the depths of our hearts, for what we felt was precisely this: Can it be possible that there is such a woman in this world?”