Hideko Takamine (高峰 秀子)

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- [ 翻譯此頁 ]Hideko Takamine (高峰 秀子, Takamine Hideko, March 27, 1924, Hakodate, Hokkaidō, Japan) is a Japanese actress, known for her film appearances in the 1950s ...

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高峰秀子

日語寫法
日語原文	高峰秀子
假名	たかみね ひでこ
羅馬字	Takamine Hideko

高峰秀子 《浮雲》劇照

高峰秀子（1924年3月27日－2010年12月28日）是一名日本女電影演員暨散文作家，原名平山秀子，現名松山秀子，愛稱是デコちゃん。出生於日本北海道函館市，丈夫是電影導演和劇作家松山善三。

高峰秀子五歲時作為童星出道，1979年引退。二戰之後到六十年代與日本電影導演大師木下惠介、成瀨巳喜男等合作密切，是日本電影黃金時期的代表人物之一。

[編輯] 生平

• 1928年 生母磯子去世，被生父平山錦司過繼給妹妹平山志夏子，從函館來到東京。
• 1929年 在松竹公司蒲田製片廠，被選為電影《母》的主角，逐漸成為電影童星。
• 1937年 轉到東寶電影公司。
• 1938年 出演《作文課堂》，是其少女時期的代表作。
• 1941年 出演《馬》，逐漸擺脫童星形象。
• 1946年 轉到新東寶電影公司。
• 1951年 出演《卡門還鄉》後，脫離新東寶，成為自由演員。6月開始在巴黎休假半年。
• 1952年 1月返回日本，重新開始拍片，此後逐漸成為日本頂級電影明星。
• 1954年 出演木下惠介的傑作《二十四隻眼睛》。
• 1955年 出演《浮雲》，獲得國際聲譽。3月26日，與松山善三結婚。
• 1976年 發表自傳《我的渡世日記》。此後出版圖書多部。
• 1979年 宣布息影。
• 2010年 2010年12月28日因肺癌去世。

[編輯] 重要作品

• 1929年 《母》 導演：野村芳亭
• 1931年 《東京合唱》 導演：小津安二郎
• 1938年 《作文課堂》 導演：山本嘉次郎
• 1941年 《馬》 導演：山本嘉次郎
• 1950年 《細雪》 導演：阿部豐
• 1950年 《宗方姐妹》 導演：小津安二郎
• 1951年 《卡門還鄉》 導演：木下惠介
• 1952年 《閃電》 導演：成瀨巳喜男
• 1952年 《純真的卡門》 導演：木下惠介
• 1953年 《看得見煙囪的地方》 導演：五所平之助
• 1953年 《雁》 導演：豐田四郎
• 1954年 《女之園》 導演：木下惠介
• 1954年 《二十四隻眼睛》 導演：木下惠介
• 1955年 《浮雲》 導演：成瀨巳喜男
• 1956年 《流》 導演：成瀨巳喜男
• 1957年 《亦喜亦悲幾度秋》 導演：木下惠介
• 1957年 《不可馴服的女人》 導演：成瀨巳喜男
• 1958年 《出張》 導演：野村芳太郎
• 1958年 《無法阿松的一生》 導演：稻垣浩
• 1960年 《女人步上樓梯時》 導演：成瀨巳喜男
• 1960年 《娘、妻、母》 導演：成瀨巳喜男
• 1960年 《笛吹川》 導演：木下惠介
• 1961年 《無名、貧困、美麗》 導演：松山善三
• 1961年 《人的條件》 導演：小林正樹
• 1961年 《永遠的人》 導演：木下惠介
• 1962年 《二人共步幾春秋》 導演：木下惠介
• 1962年 《放浪記》 導演：成瀨巳喜男
• 1964年 《失衡》 導演：成瀨巳喜男
• 1966年 《打和跑》 導演：成瀨巳喜男
• 1967年 《華岡青洲之妻》 導演：增村保造
• 1973年 《恍惚的人》 導演：豐田四郎
• 1979年 《衝動殺人，兒子啊》 導演：木下惠介

[編輯] 外部連結

• 高峰秀子作品年譜（日文）
• 高峰秀子資料（日文）

Hideko Takamine, Lauded Japanese Actress, Dies at 86

By DAVE KEHR

Published: January 3, 2011

Hideko Takamine, a Japanese actress who over the course of nearly 200 films developed from an endearing child star into a powerful representative of the Japanese woman’s search for identity and autonomy in the years after World War II, died on Dec. 28 in Tokyo. She was 86.

The cause was lung cancer, a spokesman said.

Ms. Takamine, who often seemed to be gallantly fighting back tears with her famously gentle smile, was widely regarded by Japanese and foreign critics as one of the three great actresses of the classical Japanese cinema. Her two peers were the aristocratic Kinuyo Tanaka, who worked extensively with the director Kenji Mizoguchi (“Sansho the Bailiff”) and died in 1977, and Setsuko Hara, whose portrayals of modern middle-class women were associated with the films of Yasujiro Ozu (“Tokyo Story”).

Ms. Takamine was most notably the muse of Mikio Naruse, who, although not as well known in the west as Mizoguchi and Ozu, is frequently ranked as equally important in Japanese film history. For Naruse, Ms. Takamine often played women from rural or lower-middle-class backgrounds who were forced to make their own way in the world, often saddled with weak or unfaithful men.

Among her best-known work with Naruse was “Floating Clouds” (1955), in which she played a secretary in love with her married boss, sticking with him from a wartime post in Indochina to contemporary Tokyo despite his coldness, and “When a Woman Ascends the Stairs” (1960), in which she played a widow working as a bar hostess in Tokyo’s Ginza district.

A different, less tragic side of Ms. Takamine’s personality emerged in the many movies she made with the popular filmmaker Keisuke Kinoshita. In “Carmen Comes Home” (1951), the first Japanese feature to be filmed in color, she was an exotic dancer who returns from Tokyo to her native village, bringing a whiff of modern attitudes with her; in “Twenty-Four Eyes” (1954) she was a female Mr. Chips, a schoolteacher who guides her charges from the rise of militarism in the 1930s through the aftermath of war.

Born on March 27, 1924, in Hakodate, on the southern tip of the northern island of Hokkaido, Ms. Takamine entered films at age 5, appearing in “Haha” (“Mother”) for the director Hotei Nomura. Like much prewar Japanese cinema, that film now appears to be lost. A rare surviving example of her work as a child star is Ozu’s 1931 “Tokyo Chorus.” She was reunited with him for “The Munekata Sisters” in 1950.

Ms. Takamine spent much of the 1930s skipping and singing her way through a series of light comedies and musicals as a sort of Japanese Shirley Temple. She successfully made the transition to young-adult roles as the country moved closer to war, notably in the 1941 film “Uma” (“Horse”), in which she was a farm girl forced to give up the beloved animal she had raised from a colt. During the war she became a popular pin-up girl for Japanese troops and performed in nightclubs.

Under the United States occupation, Ms. Takamine flourished in the sort of roles — modern, liberated women — encouraged by the American authorities as a break with imperial traditions. Her 1949 film “The Cancan Dancer of the Ginza” generated a hit single, on which Ms. Takamine was backed by an American-style swing band.

In 1950, Ms. Takamine became one of the first Japanese stars to renounce a studio contract and go freelance; soon, guiding her own career, she found her way to her mature collaborations with Naruse and Kinoshita. She was at the height of her popularity in 1955 when she married the screenwriter Zenzo Matsuyama, and again defied convention by continuing to work as an actress rather than withdraw into domestic life.

She retired from the screen 50 years after she began, after appearing in one last film for Kinoshita, “My Son! My Son!,” in 1979. In her later years she published an autobiography, “My Professional Diary” (1976), as well as travel writing and essays.

She is survived by her husband, Mr. Matsuyama.