[From February Issue 2011]

Always: Sunset on Third Street (Directed by YAMAZAKI Takashi)

This movie is set in the middle of Tokyo in 1958 (33rd year of the Showa era) when Japan was in the midst of its rapid economic growth. It was the age when the despairs of war had finally worn off and society began to shift toward convenience. The film portrays the common people who supported each other as they strived to live each day with hopes and dreams for a happy future. This motion picture won many awards including the Picture of the Year and Director of the Year awards for the 2006 Japan Academy Prize. Later, in 2007, the sequel was also produced.

The construction of the Tokyo Tower is underway amid the nation’s ambition for it to become the world’s tallest. People and products are abundant here in downtown Tokyo where, located on one of its street corners, is “Suzuki Auto.” Mutsuko, who came to the big city following the promise of mass employment, is disappointed that her place of work is such a small automobile repair shop. However, while working as a live-in employee, she gradually discovers that the owner, his wife, and their son Ippei, are all very touching people, and her mood starts to change.

Across the street from “Suzuki Auto,” CHAGAWA Ryunosuke, who dreams of becoming a novelist, runs a candy shop while also writing stories for boys’ magazine. One night, Hiromi, the mysterious and beautiful local bar owner, asks Chagawa to “look after an acquaintance’s boy.” He agrees to watch the boy named Junnosuke just because this beautiful woman has sweetly promised to “come to check on him sometimes.”

Although still struggling, Chagawa grows happier inside as he spends more and more time with both Hiromi and Junnosuke. He even borrows some money from Suzuki to buy Junnosuke a Christmas present. Then he asks for Hiromi’s hand in marriage. But his happiness does not last long as Hiromi suddenly closes the shop and disappears. Soon after, some company president arrives declaring to be Junnosuke’s real father, and claims guardianship of his illegitimate child.

“He is a wealthy man. He’ll buy you anything. I’m so glad I’ll finally get rid of you, you’re such a serious pain in the neck,” Chagawa says with false bravado to Junnosuke, who silently climbs into his father’s car. Chagawa, realizing just how important a part of his life Junnosuke has become, rushes after the fast moving car, but tumbles down. But Junnosuke soon returns and they embrace each other tightly as tears stream down both their faces.

Hiromi, who has returned to work as a dancer to pay off her debt, is waiting on the rooftop of the theater to appear on stage. She holds up her hand against the glare of the setting sun, imagining the ring Chagawa promised her he would someday buy. The Suzuki family drops off Mutsuko at the train station where she will travel to meet her family for the New Year’s celebration. On their way home, the Suzuki family stops by the riverbank to admire the sunset. “The sunset will always be beautiful; even tomorrow, and the day after, and even 50 years from now,” Ippei says to his parents, who agree. The sunset softly washes over the family, with the freshly completed Tokyo Tower in the background, as the film comes to an end.

[2011年2月号掲載記事]

ALWAYS 三丁目の夕日（山崎貴 監督）

高度経済成長期にあった昭和33年（1958年）の東京が舞台。戦争が終わり、世の中が便利になるなかで、将来に夢や希望をもち、お互いが助け合って暮らしていた当時の人々の日常が描かれている。2006年の日本アカデミー賞では、最優秀作品賞や最優秀監督賞などを受賞し、2007年には続編も製作された。

世界一の高さを目指し、東京タワーの建設が進んでいる。人やものがあふれ活気づく東京の下町に「鈴木オート」がある。そこへ、田舎から集団就職で六子がやってくる。就職先が小さな自動車修理工場だと知って初めは落ち込むが、住み込みで働くうち、社長やその妻、彼らの息子、一平といった鈴木家の人々の情に触れ、元気を取り戻す。

鈴木オートの向かいには、少年向け雑誌に原稿を書きながら小説家を志す茶川竜之介が駄菓子屋を営んでいる。茶川はある晩、居酒屋を経営するなぞの美女、ヒロミから「知り合いの子をしばらく預かってほしい」と頼まれる。「時々、様子を見に行く」という彼女の甘い言葉に押され、彼は淳之介と名乗るその少年を引き取る。

ヒロミや淳之介と出逢い、茶川は貧しいながらも幸せを感じる。鈴木社長に借金をして淳之介にクリスマスプレゼントを贈る。親しくなったヒロミにはプロポーズをする。だが、そんな生活も一変する。ヒロミが突然、居酒屋を閉め姿を消す一方で、淳之介の父親を名乗る会社社長が現れ、愛人との間にできた淳之介を引き取りたいと申し出る。

「お金持ちの家だぞ。何でも買ってもらえるぞ。俺もやっかいごとが減って大助かりだよ」と強がり、茶川は淳之介を追い出す。淳之介は父親の車に無言で乗り込む。すぐに淳之介の大切さに気づいた茶川は、走り去る車を慌てて追うが、転んでしまう。そこへ淳之介が戻ってくる。二人は涙で顔をぬらして抱き合う。

借金を返すため、踊り子に戻っていたヒロミは劇場の屋上で出番を待っている。夕日に手をかざし、茶川がいつか買ってあげると約束した指輪を想像する。鈴木家は、年明けを実家で過ごす六子を駅まで送った帰り、川原で夕日に見とれる。「明日だって、明後日だって、50年先だって、ずっと夕日はきれいだよ」と言う一平に、両親は賛同する。夕日が彼ら親子と完成したばかりの東京タワーを優しく照らし、映画は幕を閉じる。