Japonés | Subs: Castellano/English/Italiano (muxed)
90 min | x264 720x480 ~> 720x540 | 1518 kb/s | 192 kb/s AC3 | 23.97 fps
1,09 GB
[...] Nobuko es la nueva profesora de un internado de chicas que tiene que lidiar
con una serie de problemas: su acento rural es motivo de burla entre las
alumnas y, más concretamente, una de ellas, Eiko, se muestra
particularmente indisciplinada. Cuando Nobuko se propone corregir su
conducta se encuentra con un problema: Eiko es la hija de un hombre
importante que hace sustanciosas donaciones a la escuela, de modo que el
resto de profesoras no se atreven a enfrentarse a la chica.
A partir de esta anécdota, Shimizu da forma a una película que en la
sencillez de su planteamiento va dejando entrever detalles bastante
críticos con la sociedad de la época. De entrada, la diferencia de
clases entre las chicas de familias acaudaladas que estudian en el
internado respecto a las que deben estudiar para ser geishas (la tía de
Nobuko tiene una escuela de geishas y una de las alumnas fantasea con
otro futuro más prometedor). En siguiente lugar esa voluntad de tener
estos dos mundos lo más separados posibles: cuando unas chicas de la
escuela de geishas acuden al internado a traerle la comida a Nobuko
provocan un pequeño alboroto que al final lleva a la directora a
prohibir a Nobuko que siga en casa de su tía; no se concibe que una
respetable profesora viva en un ambiente tan poco apropiado como ése. Y
no obstante ambos mundos no están tan separados como ellos pretenden:
Nobuko se mueve entre ambos (aunque la directora le advierte que debe
disimular su acento, que delata su extracción social), y más adelante
sabremos que la tía de Nobuko conoce al padre de Eiko (ese hombre
acaudalado que sostiene la escuela) porque es un cliente de su casa de
geishas.
Pero en vez de llevar su película hacia el terreno de la crítica social,
Shimizu, fiel a su estilo más modesto, nos deja entrever estos detalles
junto a otros que suponen un reflejo bastante acertado de lo complejas
que son las relaciones humanas incluso en un filme tan aparentemente
sencillo y sin muchas sorpresas: aunque simpatizamos enseguida con
Nobuko como víctima, al final acabamos entendiendo que su obstinación
por castigar a Eiko es más perjudicial que una solución; mientras que el
hecho de que Eiko pierda la simpatía de sus compañeras nos hace ver lo
crueles y asfixiantes que pueden ser estos ambientes de grupo cuando
todo se le gira a uno en su contra.
Pero todas esas ideas, que desde luego no son nuevas para nosotros, aquí
Shimizu las expone con ese estilo suyo tan característico en que prima
la anécdota y se nota que disfruta de los pequeños momentos, como la
excursión escolar al campo o las rutinas diarias del internado. La
sensación que tiene uno viendo una película de Shimizu es de que, aunque
al final haya un mensaje, no nos han sermoneado, sino que más bien
hemos compartido por un rato esa visión tan humanista de su creador,
quien se nota que siente un gran interés por sus personajes, tanto por
sus virtudes como por sus defectos, y que da la impresión de ser una de
esas personas que creía que todo hombre tenía también su lado bueno.
Puede que películas como
Nobuko no pasen a la
historia, pero el hecho de que consiga contagiarnos esa visión que tenía
su creador sobre las relaciones humanas es uno de los motivos por los
cuales Shimizu me parece uno de los grandes cineastas a descubrir.___ Todo el texto tomado de
El Gabinete del Doctor Mabuse
Renowned actress/singer Takamine Mieko stars as titular heroine Nobuko, a
spirited young teacher working in a conservative school. Based on a
novel by Shishi Bunroku, the film follows her experiences as she
challenges the school with her liberal thinking and teaching methods.
"I’ve taken an unintentional break from Hirosh Shimizu for quite awhile
now so I was a bit worried that I wouldn’t connect with this like I did
with his previous efforts. Within the first few minutes, such fears were
cast aside. While this is probably the Shimizu film with the worst
print, it’s brilliance still shines through. Once again Shimizu crafts a
formal brilliant little drama that appears so innocent and carefree on
the surface, but is tragic and heartbreaking underneath. If I have any
complaints at all, I’d say that it is a tad bit too gentle, which isn’t
all that unusual for Shimizu. This is the sort of wonderful film I’ve
come to expect from him.
The story here is very particular and atypical. After all, most of the
plot’s forward momentum comes from the title character’s accent. Nobuko
comes from out-of-town to become a teacher at an all-girls boarding
school. She lives with her aunt, a geisha, which eventually causes some
controversy with the school’s authoritative figures. Inside this geisha
house, though, we see something very Shimizu-ian, a character whose
tragedy is quickly approaching. The aunt’s daughter is destined, just
like the reserved female character in Arigato-san, to pursue a career as
a geisha, something she has little to no interest in. By the film’s
end, this character seems pretty much unimportant, but she still is an
example of those hidden tragedies woven within most of Shimizu’s work.
The main focus here is, instead, Mieko Takamine as the Nobuko. Takamine,
unfortunately, has been generally forgotten but her performance here
and in Shimizu’s Anma to onna gives us a wonderful taste of her talent.
At first, she comes off a bit awkward with her greatly exaggerated
accent, but I guess a lot of this could be blamed on the subtitle
translation, which goes to great efforts to make it known that she
clearly doesn’t talk like her teaching peers. I can’t stress my respect
enough for Shochiku’s decision to make these films accessible to the
English-speaking world, but perhaps some sort of short explanation on
the differences in dialect would be helpful. This isn’t too much of a
problem, though, as Nobuko quickly adapts to her surroundings, loses her
accent, and becomes a much more interesting character overall.
I must admit, the “dark” turn the film takes in its final act is pretty
surprising. Even if Eiko’s character “opening up” was predictable it is
handled in a manner that isn’t the least bit old-fashion. At first, we
see Eiko as the popular and likable troublemaker that has long been a
headache for the school’s faculty. As most of the girls take a rise to
Nobuko’s teaching style, Eiko continues to display her rebelliousness.
It is then revealed that the school’s finances are supported by her
father, thus explaining the staff’s resistance to “disciplining” her. It
may not need to be mentioned, but such scenarios still happen in modern
life. Nobuko is the first teacher to treat Eiko like the other students
and when she does, Eiko turns to suicide.
This all sounds over-whelmingly melodramatic, but Shimizu somehow crafts
it with such sincerity for his characters. The sequence in which Eiko
disappears (to proceed in killing herself) we are never shown anything
that is meant to manipulate the sadness of Eiko, but instead, a
selection of static corridor shots complimented by the students calling
for their peer. She is found and quickly taken to the hospital, where
she essentially tells Nobuko why she is such a troublemaker. It is a bit
too tightly put together, as it seems to explain away all of the
character’s problems, but the sequence itself is so honest. Even as the
film ends on a string on near monologues (first from Niko, then from her
father, then from Nobuko) it doesn’t feel the least bit preachy. If the
moral is that all kids want attention, than in my humble opinion, no
amount of manipulation can water down the cause. At least not when it’s
in Shimizu’s hands. What could have been the Japanese Dead Poets Society
is instead, one of the truest meditations on life as a teenager and as a
young adult."
-- Jake Savage (Cinematalk.wordpress.com)
Subtítulos en castellano de
Mario Vitale (AZ)
Retail English subs edited by corvusalbus (KG)
Rip de origen desconocido
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