nntsuzu/KFTT huggingface dataset:
English: And she ordered Yorimori to 'be sure to join the forces of your brother Kiyomori' ("Gukansho").
Japanese: そして頼盛に「ヒシト兄ノ清盛ニツキテアレ」協力することを命じた（『愚管抄』）。
English: Thanks to this decision, the Taira clan made a success in keeping the power, which had been built up so far, by preventing conflict within the clan.
Japanese: この決断により平氏は一族の分裂を回避し、今まで築き上げてきた勢力を保持することに成功した。
English: In the Heiji War in 1159, her stepson TAIRA no Kiyomori, who had survived the difficult political fight, gained a victory, and as a result, other military aristocracies such as MINAMOTO no Yoshitomo were ejected.
Japanese: 平治元年（1159年）の平治の乱においては複雑な政争を勝ち抜いた継子平清盛が勝利し、その結果源義朝らの他の軍事貴族が駆逐された。
English: In March 1160, the following year, the 13-year-old MINAMOTO no Yoritomo, the heir of MINAMOTO no Yoshitomo, was captured by TAIRA no Munekiyo, who was a roto (retainer) of Ike no Zenni and Yorimori.
Japanese: 翌永暦元年（1160年）2月源義朝の嫡子で13歳の源頼朝が池禅尼ならびに頼盛の郎党である平宗清に捕えられた。
English: Besides, it is also said that Kiyomori gave in finally and commuted execution to exile to Izu Province because Ike no Zenni had begun to fast in order to beg for Yoritomo's life.
Japanese: また頼朝の助命の為に池禅尼が断食をし始めたため、遂に折れて伊豆国への流罪へと減刑したとも言われている。
English: In the "Heiji monogatari" (The tale of the Heiji), which recorded the above story, described that Muneko (Ike no Zenni) desperately beg for Yoritomo's life because he was the living image of her son Iemori, who had died young; but in fact, it was assumed that it was caused by the approaches of the Imperial Princess Muneko (a daughter of Taikenmonin, a maternal older half-sister of Goshirakawa) and the Atsuta-guji family (the family of Yoritomo's mother), which was the family of a trusted vassal of the Taikenmonin (Yasuo MOTOKI, "Hogen Heiji no ran o yominaosu"(Rereading the Hogen and Heiji Disturbances)).
Japanese: 上記内容を記している『平治物語』では、頼朝が早世した我が子家盛に生き写しだったことから宗子が助命に奔走したとするが、実際には頼朝が仕えていた統子内親王（待賢門院の娘、後白河の同母姉）や同じ待賢門院近臣家の熱田宮司家（頼朝の母方の親族）の働きかけによるものと推測される(元木泰雄『保元・平治の乱を読み直す』)。
English: Yoritomo did not forget how much Ike no Zenni had done for him and gave special treatment to her son Yorimori even after Yoritomo had raised an army in Izu Province, and consequently, the family of Yorimori survived even after the fall of the Taira clan.
Japanese: 頼朝は池禅尼の恩を忘れず、伊豆国で挙兵した後も彼女の息子である頼盛を優遇し、平氏滅亡後も頼盛の一族は存続する。
English: FUJIWARA no Motonari (date of birth and death unknown) was an aristocrat from the end of the Heian period to the beginning of the Kamakura period.
Japanese: 藤原基成（ふじわらのもとなり、生没年未詳）は、平安時代末期、鎌倉時代初期の貴族。
English: In addition, his sister was the legal wife of Motozane KONOE, Kanpaku (chief adviser to the Emperor), and her son Motomichi KONOE was also in charge of Kanpaku.
Japanese: また、妹が関白近衛基実の正妻で、その子である近衛基通も関白になっている。
English: He was assigned to Mutsu no kami in April 1143 and Chinju-fu shogun in June, and went down to Hiraizumicho in Oshu.
Japanese: 康治2年（1143年）4月に陸奥守に任官、6月に鎮守府将軍を兼任し奥州平泉町へ下向する。
English: Although his term as Chinju-fu shogun was unknown, he was reappointed as Mutsu no kami again and held the office until January 1154.
Japanese: 鎮守府将軍の在任期間は不明だが、陸奥守は重任して仁平3年（1153年）閏月12月まで在任している。
English: During his term, he formed a friendship with FUJIWARA no Motohira, the head of the Oshu Fujiwara clan, who was the actual ruler of Oshu.
Japanese: 在任中に奥州の実質的な支配者である奥州藤原氏の頭領・藤原基衡と親交を結ぶ。
English: Motohira was in fierce conflict with FUJIWARA no Morotsuna, a predecessor of Motonari, and Sueharu SATO, his trusted vassal, was killed by him.
Japanese: 基衡は基成の前任者であった藤原師綱と激しく対立し、腹心佐藤季治を打ち首にされた。
English: In addition, it seems that he not only aimed at conciliation but also tried to incorporate Motonari into his ruling system and integrate the powers because Motonari had strong relations with the Imperial Court.
Japanese: また、基成が朝廷に太いパイプを持っていたことから単なる融和策だけでなく、自分の支配体制に組み込み、一体化を図ったとみられる。
English: He went back to Kyoto just before he finished his term, and was assigned to Minbu shoyu in December 1155, but was exiled to the Mutsu Province because of enza (guilty due to a relative's crime) of his brother FUJIWARA no Nobuyori who was defeated in the Heiji War in 1159.
Japanese: 任が終わる直前に帰洛し、久寿2年（1155年）12月、民部少輔に補任されたが、平治元年（1159年）の平治の乱で敗れた兄・藤原信頼に縁座によって陸奥に流された。
English: After that, he lived in Koromogawa no tachi residence as Hidehira's father-in-law and established the position as political advisor of the Oshu Fujiwara clan.
Japanese: 以降、秀衡の岳父として衣川館に住み、奥州藤原氏の政治顧問的な立場を確立した。
English: His close relatives were put in charge of successive Mutsu no kami, which seemed to have a significant influence on kokuga (provincial government offices) as well.
Japanese: 歴代の陸奥守は基成の近親者が歴任し、国衙にも大きな影響力を及ぼしたと見られる。
English: It is guessed that an approach by Naganori to Motonari was the reason why MINAMOTO no Yoshitsune, a son between Yoshitomo and Tokiwa gozen, went to Oshu.
Japanese: 義朝と常磐の間の子源義経が奥州に来たのも長成から基成に働きかけがあったものと推測されている。
English: After Hidehira died, FUJIWARA no Yasuhira, a grandchild of Motonari, succeeded the family estate and Motonari assisted him.
Japanese: 秀衡の没後、基成の外孫でもある藤原泰衡が家督を継ぎ、それを補佐した。
English: Yasuhira was defeated by MINAMOTO no Yoritomo in the Battle of Oshu on July 1189 and was put in jail by Yoritomo, which was the end of the Oshu Fujiwara clan.
Japanese: 文治5年（1189年）7月の源頼朝による奥州追討（奥州合戦）を受け、敗北した泰衡は頼朝によって獄門され、奥州藤原氏は滅亡する。
English: Motonari surrendered and was captured by Taneyori TO, a gokenin (an immediate vassal of the Shogunate in the Kamakura and Muromachi through Edo periods) of Yoritomo, with his three sons on September 18 after the fall of Hiraizumi.
Japanese: 基成は平泉が陥落した後の9月18日、頼朝の御家人である東胤頼によって3人の息子とともに降伏し捕縛された。
English: Kaiyo (1036-September 6, 1112) was a Buddhist monk from the end of the Heian Period (the cloister government period).
Japanese: 快誉（かいよ、長元9年（1036年）-天永3年8月14日(旧暦)（1112年9月6日））は、平安時代末期（院政期）の僧侶。
English: He maintained an intimate relationship with his immediate elder brother Yoshimitsu, and when Yoshimitsu murdered his nephew, MINAMOTO no Yoshitada, in 1109, it is said that he was deeply involved in its planning and execution.
Japanese: すぐ上の兄の義光と懇意であり、天仁2年（1109年）に義光が甥の源義忠を暗殺した際にはその計画と実行に深く関わったと伝わる。
English: TAIRA no Narimoto, although the architect of the assassination of Yoshitada, was instructed by Yoshimitsu to hide after the crime at Kaiyo's wing, and Kaiyo, after receiving him, buried him alive.
Japanese: 義忠暗殺の下手人である平成幹は、暗殺実行の後この快誉の下に身を潜めるよう義光から指示を受けていた。
English: It is said that the brothers Yoshimitsu and Kaiyo got together and conspired this act from the beginning in order to silence him and avoid detection of the case.
Japanese: これは事件の口封じのために、義光・快誉兄弟があらかじめ示し合わせた上での所業であったとされる。
English: Zoga (917- July 16, 1003) was a Tendai sect monk in the middle of the Heian period.
Japanese: 蔵賀（ぞうが、延喜17年（917年）-長保5年6月9日(旧暦)（1003年7月10日））は、平安時代中期の天台宗の僧。
English: In 963, he lived in Tonomine (Sakurai City, Nara Prefecture) at the recommendation of FUJIWARA no Takamitsu and taught 'Makashikan' (Mahayana Practice of Cessation and Contemplation), 'Hokke Mongu' (Words and Phrases of the Lotus Sutra) and wrote 'Hokkegengisho,' 'Mugennennbutsukan.'
Japanese: 963年（応和3年）藤原高光の勧めで多武峰（奈良県桜井市）に住し、「摩訶止観」「法華文句」を講じ、「法華玄義鈔」「無限念仏観」などを著した。
English: On the other hand, he is also said to have performed miracles by zuho such as Fudo-gu (zuho celebrating the Fudo Myoo) and Hokke-kyo Sutra readings.
Japanese: 一方不動供（不動明王を供養する修法）などの修法や法華経読誦を行い奇瑞を現したという。
English: FUJIWARA no Yasumasa (958-1036) was a courtier during the middle of the Heian period.
Japanese: 藤原保昌（ふじわらのやすまさ、天徳(日本)2年（958年）-長元9年（1036年））は、平安時代中期の公家。
English: In 1013, he was appointed Sama no gon no kami (Provisional Captain of Samaryo, Left Division of Bureau of Horses) and Governor of Yamato Province and later was hogandai (an administrative official of the Retired-Emperor's Office) for Emperor Enyu, Governor of Tango, Settsu, Yamashiro, Hizen, Hyuga Provinces and climbed to Shoshiinoge (Senior Fourth Rank, Lower Grade).
Japanese: 長和2年（1013年）に左馬権頭兼大和国守に任じられ､以後円融天皇判官代・丹後国守・摂津国守・山城国守・肥前国守・日向国守などを歴任し正四位下に昇る。
English: He was good at military skills and was one of the 'Michinaga Shitenno' together with MINAMOTO no Yorinobu, TAIRA no Korehira and TAIRA no Muneyori.
Japanese: 武勇に秀で､源頼信・平維衡・平致頼らとともに「道長四天王」と称された。
English: A captain of a robber group called Hakamadare wanted to rob him of his costume and followed him, but was too scared to actually rob him.
Japanese: それを見つけた袴垂という盗賊の首領が衣装を奪おうとその者の後をつけたが、どうにも恐ろしく思い手を出すことができなかった。
English: This person turned out to be Yasumasa and he took Hakamadare to his house and gave him some clothes, and then Hakamadare hurriedly ran away.
Japanese: その者こそが保昌で、保昌は逆に袴垂を自らの家に連れ込んで衣を与えたところ、袴垂は慌てて逃げ帰ったという。
English: In later years, Hakamadare was thought to be the same as Yasumasa's younger brother FUJIWARA no Yasusuke and was called 'Hakamadare Yasusuke,' but the story in Konjaku monogatari is logically difficult to consider as a story between brothers and therefore Hakamadare and FUJIWARA no Yasusuke are thought to be different people.
Japanese: また、後世袴垂は保昌の弟藤原保輔と同一視され、「袴垂保輔」と称されたが、今昔物語の説話が兄弟同士の間での話とは考えにくい為、実際は袴垂と藤原保輔は別人と考えられている。
English: FUJIWARA no Nobunaga (1022-October 20, 1094) was a courtier from the middle to late Heian period.
Japanese: 藤原信長（ふじわらののぶなが、治安(元号)2年（1022年）-寛治8年9月3日(旧暦)（1094年10月14日））は、平安時代中期から後期にかけての公卿。
English: In this period, his father Norimichi tried to pass on the position of Kanpaku (chief adviser to the Emperor), but his father died without fulfilling this wish in 1075.
Japanese: この間、父教通は関白を信長に譲ろうとしたが､果たせずに1075年（承保2年）に没した。
English: Later, he entered into a serious power struggle over the position of Sekkan (regents and advisers) with his cousin FUJIWARA no Morozane, but Morozane was appointed to the position of Sekkan.
Japanese: 以後従兄弟である藤原師実と摂関の地位を巡る激しい権力闘争を続けたが師実が摂関の地位に就任した。
English: In August 1080, he attained the highest position as an aristocrat, Daijo Daijin, but two months later, Morozane's foster daughter and Emperor Shirakawa's favorite wife, FUJIWARA no Kenshi worked to have an order given to make Morozane, who was Kanpaku Sadaijin (minister of the left) at that time, as the top of all aristocrats (in other words, higher in position than Nobunaga).
Japanese: 1080年（承暦4年）8月公家中最高位の地位である太政大臣に至ったものの、師実の養女で白河天皇の寵愛していた后・藤原賢子の計らいで2ヵ月後関白左大臣である師実が全公卿の筆頭（つまり信長より上位）とする勅命が出された。
English: On October 20, 1094, he became a monk due to old age and sickness, but died the same day.
Japanese: 1094年（嘉保元年）9月3日、老いと病気により出家するが同日没している。
English: Raigen (year of birth unknown - March 26, 1183) was an ebusshi (artist who draws Buddhist paintings and colors Buddhist statues) in the late Heian period.
Japanese: 頼源（らいげん、?－寿永2年2月24日(旧暦)（1183年3月19日））は、平安時代後期の絵仏師。
English: Thanks to his father's distinguished service, he was appointed to Hokkyo (the third highest rank of artists for Buddhist sculpture) in kansho (awarding prize or position to people who rendered distinguished service) which took place at the occasion of a memorial service for Ensho-ji Temple in 1149, and later on, he was promoted to Hogen (the second highest rank of artists for Buddhist sculpture).
Japanese: また1149年（久安5年）延勝寺供養の際の勧賞で父の功績を譲られて法橋に任じられ、その後法眼に昇任した。
English: Although it is known that he drew many paintings such as Ryokai mandara and Amida Nyorai-zo (the statue of Amida Tathagata), none of his works exist today.
Japanese: 両界曼荼羅や阿弥陀如来像など多くの画を描いたことが伝えられているが遺品は残されていない。
English: Ko NAKAHIRA (January 3, 1926-September 11, 1978) was a film director.
Japanese: 中平康（なかひらこう、大正15年（1926年）1月3日-昭和53年（1978年）9月11日）は、映画監督。
English: He was called a film director of the modern school as well as Yasuzo MASUMURA, Kihachi OKAMOTO, Kon ICHIKAWA, Tadashi SAWASHIMA, Seijun SUZUKI., and so on.
Japanese: 増村保造、岡本喜八、市川崑、沢島忠、鈴木清順らと共にモダン派と称された。
English: He was known as a director who was good at film techniques for an up-tempo storyline with a sophisticated touch.
Japanese: 映画テクニックを駆使したスピーディーなテンポと洗練されたタッチの技巧派監督として知られる。
English: He treated film as if it were a purely visual art and emphasized how to show the subject rather than what to show by the dramatic impact of 'style' and 'technique' the essences of a film.
Japanese: 映画をあくまでも純粋視覚芸術のように捉え、題材として何を描くかではなく、どのように描くかという映画の本質たる「スタイル」と「テクニック」で見せる演出を信条とした。
English: His major works were "Kurutta Kajitsu" (Crazed Fruits), "Getsuyobi no Yuka" (Monday Girl), "Gaito" (Streetlight), "Kurenai no tsubasa" (Crimson Wings) and "Koroshita no wa dareda" (Who Committed Murder?).
Japanese: 代表作に『狂った果実』、『月曜日のユカ』、『街燈』、『紅の翼』、『殺したのは誰だ』などがある。
English: As his grandmother graduated from a music school and taught violin, he grew up in a family that encouraged him to become an artist.
Japanese: 音楽学校を出た祖母もヴァイオリンを教えていたなどして芸術家になることを奨励されるような家庭で育つ。
English: He became enthusiastic about films since he was a junior high school student and studied it by watching the same film ten times including his favorite one directed by Rene Clair.
Japanese: 中学時代より映画に熱中し、好きだったルネ・クレール監督作品など同じ作品を10回くらいずつ繰り返し観るなどして研究を重ねる。
English: When he was a student preparing for a school entrance exam a year after having failed the one the previous year and upon graduating high school, he contributed a satirical scenario to a public magazine 'Ningen Kigeki' (Human Comedy), which won a prize as one of the five honorable mentions (the title was 'Mr. Goemon').
Japanese: 高等学校を出て浪人中に、雑誌「人間喜劇」の諷刺シナリオの公募に出品して佳作5本の中に入選（題名は「ミスター・ゴエモン」）。
English: In 1948, he dropped out of Tokyo University and applied to become an assistant director at Shochiku Ofuna Studios, a position that was being advertized for the first time since the war, because he adored the film director Yuzo KAWASHIMA.
Japanese: 昭和23年（1948年）、東京大学を中退し、川島雄三監督に憧れ松竹大船撮影所の戦後第1回助監督募集に応募した。
English: He was selected as one of the eight members (Seijun SUZUKI, Zenzo MATSUYAMA, Buichi SAITO, Kazuo INOUE, Chisato IKOMA, Yugoro IMAI, and Tadashi ARIMOTO) among 1,500 applicants and entered Shochiku Co., Ltd.
Japanese: 1500人中8人（鈴木清順、松山善三、斉藤武市、井上和男、生駒千里、今井雄五郎、有本正）の内に撰ばれ、松竹入社。
English: He worked as an assistant director not only in the films directed by Kawashima but also in those directed by Yasushi SASAKI, Keisuke KINOSHITA, Hideo OBA, Kenkichi HARA, Minoru SHIBUYA, Akira KUROSAWA, and so on.
Japanese: 憧れであった川島をはじめ、佐々木康、木下惠介、大庭秀雄、原研吉、渋谷実、黒澤明等の助監督を務める。
English: He stylishly dressed wearing a beret and overalls with many pockets in which he put in Nanatsu-dogu (suite of required tools) and ran around the studio.
Japanese: ベレー帽にポケットだらけのツナギ服をスタイリッシュに着用し、体中に七つ道具をつめ込み撮影所を走りまわった。
English: His style attracted attention and the beret was seen as his trade mark all through his life.
Japanese: 彼の姿は周囲の注目を集め、ベレー帽は彼の生涯のトレードマークとなった。
English: He was known as a very efficient assistant director and especially Akira KUROSAWA and Yuzo KAWASHIMA, who were film directors he desired to assist, treated him kindly.
Japanese: 大変有能な助監督として知られ、特に自ら志願して就いた黒澤明と川島雄三には可愛がられた。
English: While many assistant directors emphasized studying scenario when they taught juniors, Nakahira strongly insisted on learning editing techniques at the same time, which showed his obsession with film techniques since he was an assistant director.
Japanese: 多くの助監督が後輩を指導する際、脚本を勉強することを第一とするのが通常であったのに対し、その他に中平は編集の技術も身に付けることを強く主張するなど、助監督時代から既に後の映画テクニックへの執着を見せる。
English: It is said that when he directed the movie trailer "Shinjitsu Ichiro" (path of sincerity) directed by Yuzo KAWASHIMA as the chief assistant director, Masahiro SHINODA and Osamu TAKAHASHI, beginning assistant directors, watched it, they were astonished at Nakahira's outstanding talent.
Japanese: 彼がチーフ助監督として川島雄三監督の『真実一路』の予告編を演出した際、その予告編を見た新米助監督だった篠田正浩と高橋治は中平の突出した才能に愕然としたという。
English: Nakahira strongly desired to become a film director as early as possible so he moved to Nikkatsu Studios which started making films again in 1954, offered by Katsumi NISHIKAWA.
Japanese: 一日も早く監督に昇進したいと強く希望していた中平は、西河克己からの誘いもあり、昭和29年（1954年）、映画製作を再開した日活に移籍。
English: At Nikkatsu Studios, he worked as an assistant director to Kaneto SHINDO, Tomotaka TASAKA, Katsumi NISHIKAWA, Eisuke TAKIZAWA, So YAMAMURA and so on.
Japanese: 日活では新藤兼人、田坂具隆、西河克己、滝沢英輔、山村聡らの助監督を務める。
English: His talent was recognized by Takiko MIZUNOE, who was a producer, in 1956 and he made the whole set of the back streets in the Ginza, a stage of a murder, as an assistant director and directed "Nerawareta Otoko" (Targeted man) by using Deep focus (released after "Kurutta Kajitsu"), a horror film of medium length that was unique for a new film director.
Japanese: 昭和31年（1956年）、プロデューサーの水の江滝子に才能を見出され、助監督身分のまま、殺人事件の舞台となる銀座裏通りを丸ごとオープンセットで作り、随所にパンフォーカスを駆使した『狙われた男』を監督（公開は『狂った果実』の後）、新人監督らしからぬ中編スリラーとなる。
English: His second film "Kurutta Kajitsu" which was shot in only 17 days after the hit film of "Taiyo no Kisetsu" (Season of the Sun) (directed by Takumi FURUKAWA) in 1956, was highly praised for its up-tempo storyline, fresh cutting, sensational subject by the writers of Nouvelle Vague such as Francois Truffaut.
Japanese: 同年の『太陽の季節』（古川卓己監督）のヒットを受け、わずか17日間で撮影された二作目の『狂った果実』がスピーディーなテンポ、斬新なカッティング、センセーショナルな題材とで、フランソワ・トリュフォーらヌーヴェルヴァーグの作家たちに絶賛された。
English: He was said to be more talented than other directors of the modern school in the same generation such as Kihachi OKAMOTO and Yasuzo MASUMURA.
Japanese: 才能のポテンシャルとしては同世代のモダン派として並び称された岡本喜八、増村保造らをも上回るといわれた。
English: He showed his talent in speedy, light, and unrestrained films such as "Gyunyuya Furanki" (Milk rounds man Furanki) which was praised as a masterpiece for slapstick and parody rarely seen in Japan, "Gaito" called 'the most typical film of Ko NAKAHIRA' and used gorgeous costumes designed by Hanae MORI as he said that 'I consistently aim to produce sophisticated films' as a film director, "Yuwaku" (temptations) a comedy showing the adolescence of young vanguardartists, and "Saijo Katagi" (A character of intelligent lady), a comedy of manners aimed to have the same touch as that of Billy Wilder.
Japanese: 日本では珍しいスラップスティックとパロディで傑作といわれる『牛乳屋フランキー』、映画監督として「自分はあくまでもソフィスケイトを目指す」と語っていたように「最も中平康らしい作品」といわれる、森英恵による衣装も絢爛たるルネ・クレール風の『街燈』、若き前衛芸術家達の青春群像を描いたコメディ『誘惑』、ビリー・ワイルダータッチを狙った風俗喜劇『才女気質』等のスピーディーで軽妙洒脱な作品に力量を発揮した。
English: In addition, he showed distinguished achievement in various categories including suspense and mystery such as "Koroshita no wa dareda," "Kurenai no tsubasa," "Sono Kabe wo Kudake" (Crash the wall) and "Mikkai" (Secret Meeting).
Japanese: 他、ハヤカワ・ポケット・ミステリを愛した中平らしい『殺したのは誰だ』、『紅の翼』、『その壁を砕け』、『密会』等のサスペンスやミステリーと、あらゆるジャンルに抜群の冴えを見せた。
English: "Gakuseiyaro to Musumetachi" (Students and daughters), which was released in 1960, was a masterpiece that fully reflected Nakahira's style of ensemble casting, a method of casting in which, rather than one actor being singled out as the main character, a number of actors shared billing.
Japanese: 昭和35年（1960年）の『学生野郎と娘たち』では、主人公を一人に限定せず多くの登場人物を等価に描くという中平流群像劇の方法論を結実させた快作となる。
English: However, he identified himself as being a member of the 'Han-Socho Shinkoku Ha' (Anti-Solemn and Serious Group) and 'Nippon Keicho Huhaku Ha' (Japan Rash and Frivolous Group), and favored the use of shooting techniques to achieve a sophisticated depiction of his film's narrative, rather than addressing subjects related to a certain theme or social problem.
Japanese: しかし「反・荘重深刻派」、「日本軽佻浮薄派」を自任し、テーマ性や社会性がある題材よりも洗練を好み映画テクニックで臨んだ。
English: His strong distinct design was heresy in Japan's film industry so it was not understood in those days in contrast with his actual intentions.
Japanese: 彼の作風は日本映画界にあっては異端であり、自身の思惑とは裏腹に、当時は理解されなかった。
English: He also wrote excellent essays and cinematic reviews, in which he criticized the situation that the only films with a certain theme or social problem were easily selected for the top ten of film awards, and repeatedly insisted that a film should be evaluated by how it shot the subjects in stead of what kind of subjects it shot.
Japanese: エッセイや映画評論にも辣腕なところを見せ、映画賞でテーマ性や社会性のある作品ばかりが安易にベストテン入りする状況を厳しく批判し、映画を原作や素材によって評価するのではなく、その素材をどのように映像化したかをこそ評価すべきだと繰り返し訴えた。
English: Later, after the star system of Nikkatsu was established and firmly fixed, he created many program pictures.
Japanese: 後に日活のスター・システムが確立し定着すると共にプログラムピクチャーを量産。
English: It is said that even in a film centering a star, he kept the stance that 'the film comes first' and actress Sayuri YOSHINAGA later said, 'he was the severest director.'
Japanese: スター中心の映画製作であっても、あくまでも「まず映画ありき」の姿勢で臨み、吉永小百合は後に「一番恐い監督でした」と語るなど、その演出姿勢は変わらず厳しいものであったとされる。
English: "Chizu no nai Machi" (A town without a map), shot in 1960 after "Gakuseiyaro to Musumetachi," was drawn up by himself as a project where Shinobu HASHIMOTO wrote the best possible scenario and Yujiro ISHIHARA played the lead.
Japanese: 昭和35年（1960年）、『学生野郎と娘たち』の次に撮った『地図のない町』は橋本忍に納得の行くまで脚本の書き直しを依頼し石原裕次郎主演作として自ら企画した。
English: However, this project was rejected by the company because it would have hurt the image of Yujiro as a star, and as a result, it was made into a film with Ryoji HAYAMA playing the lead as a unique mystery that dealt strongly with social problems.
Japanese: だが、裕次郎のスターイメージを損なうとして会社側に却下されて、結局、葉山良二主演で映画化されたが力の入った異色の社会派ミステリーとなる。
English: "Ashita Hareruka" (Will it be fine tomorrow?) starring Yujiro ISHIHARA in the same year was a Japanese screwball comedy in which he made Izumi ASHIKAWA, a pristine actress, played a funny intelligent woman wearing black frame eyeglasses, speaking fast and nagging Yujiro to love her.
Japanese: 同年、石原裕次郎の『あした晴れるか』では清純派・芦川いづみに黒ぶち眼鏡を掛けさせ、早口で喋りまくり裕次郎に迫るという珍妙な才女を演じさせ和製スクリューボール・コメディとなった。
English: In 1961 he directed "Aitsu to Watashi" (He and I) starring Yujiro ISHIHARA which was the largest hit film for Nakahira, and in 1962 he directed the action comedy "Yabai Koto nara Zeni ni naru" (Danger Means Money) starring Jo SHISHIDO which appeared too early and brought memories of the later TV cartoon film "Lupin the 3rd."
Japanese: 昭和36年（1961年）には中平最大のヒット作となった石原裕次郎の『あいつと私』、昭和37年（1962年）には後のテレビアニメ『ルパン三世』を彷彿とさせる早過ぎた宍戸錠のアクション・コメディ『危いことなら銭になる』。
English: In 1963 he directed "Doro darake no Junjo" (Muddy pure heart) which was a historical masterpiece representing the pure heart films played by Sayuri YOSHINAGA and Mitsuo HAMADA and later remade in Republic of Korea.
Japanese: 昭和38年（1963年）、後に大韓民国でリメイクされるなど吉永小百合、浜田光夫の純愛路線を代表した歴史的傑作となる『泥だらけの純情』。
English: The major works in which Nakahira employed his ensemble casting method were "Gendaikko" (Modern children), a cynical, modern film that was shot in the same year as "Doro darake no Junjo" and was typical of Nakahira, and "Hikaru Umi " (Shining sea), a film in which Yoshinaga, Mieko TAKAMINE, Kinuyo TANAKA, Masayuki MORI, and others appeared.
Japanese: 同年のシニカルでモダンで中平らしい『現代っ子』、それに吉永、高峰三枝子、田中絹代、森雅之らが競演する『光る海』は中平流群像劇の総仕上げ的な作品となる。
English: In 1964 he directed "Getsuyobi no Yuka" starring photogenic Mariko KAGA which recently became famous, "Ryojin Nikki" (The Hunter's Diary) which was based on the book written by Masako TOGAWA and in which Noboru NAKAYA was stared and played a middle age man who fell into sexual love, "Suna no ue no Shokubutsugun" (Plants in the sand) which was based on the book written by Junnosuke YOSHIYUKI and which was said to be impossible to be made into a film, and "Onna no uzu to fuchi to nagare" (Whirlpool of Women) starring Nakaya and Kazuko INANO one after another, which were experimental unique works illustrating his distinguished talent.
Japanese: 昭和39年（1964年）には近年特に有名となったフォトジェニックな加賀まりこの『月曜日のユカ』、性愛にのめり込んで行く中年男性を仲谷昇主演で描く戸川昌子原作『猟人日記』、映画化不可能とまでいわれた吉行淳之介原作『砂の上の植物郡』、同じ仲谷・稲野和子コンビの『おんなの渦と渕と流れ』と立て続けに撮った実験的異色作にも並々ならぬ才気を見せる。
English: However, his films were always ahead of the times, so he could not get any film awards in spite of his distinguished staging ability.
Japanese: しかし、彼の作品は常に時代を先取りした感があり、群を抜いた演出力を持ちながら映画賞にはまるで縁がなかった。
English: It is said that he sometimes moaned, 'Even Hitchcock does not get a film award' to the people around him.
Japanese: 「ヒッチコックだって賞なんかもらってやしない」と周囲に洩らすこともあったという。
English: He had disorderly life, which might be because he felt impatient being left alone while Okamoto and Masumura and Shohei IMAMURA and Kirio URAYAMA who belonged to Nikkatsu as well as Nakahira became famous, and it is said that he even drank on the set.
Japanese: 岡本・増村、同じ日活の今村昌平や浦山桐郎が名声を高めていく中で取り残された焦りからか生活を荒れさせ、撮影現場で飲酒することすらあったと伝えられる。
English: In 1965 he directed "Kuroi Tobakushi" (Black gamester), which was the sixth film of the gamester series starring Akira KOBAYASHI, for the first time and greatly changed the image of film to be modern like James Bond's films removing the melancholy and pathos.
Japanese: 昭和40年（1965年）、小林旭の賭博師シリーズでは中平の初登板した第6作『黒い賭博師』にて、従来の哀愁や情念の要素を抜き去った、モダンでジェームズ・ボンド映画風のタッチで華麗に路線変更。