nntsuzu/KFTT huggingface dataset:
English: Accordingly, some of his works have been released to the public domain as DVDs.
Japanese: このためいくつかの作品が現在パブリックドメインDVDで発売されている。
English: Saikaku ichidai onna (The Life of Oharu): 'International Prize' at the Venice Film Festival in 1952, and 'THE BBC 100' selected by BBC
Japanese: 西鶴一代女（1952年ヴェネツィア国際映画祭「国際賞」、BBC選出「21世紀に残したい映画100本」）
English: Ugetsu Monogatari (Tales of Moon and Rain): 'Silver Lion' at the Venice Film Festival in 1953, nominated for Academy Award for Costume Design, 'Career Achievement Award' from the National Board of Review
Japanese: 雨月物語（1953年ヴェネツィア国際映画祭「銀獅子賞」、米アカデミー賞衣装デザイン賞ノミネート、ナショナル・ボード・オブ・レビュー「経歴賞」）
English: Mizoguchi hated halting the flow of action with the camera blocking, and often used a long single shot of several-minutes in his later films, in particular.
Japanese: 演技の流れをカット割りによって断ち切ってしまうことを嫌い、特に後年の作品においては1カットが数分に及ぶような長回しを多用した。
English: Consequently, his fluid and tense style came to fruition, and coupled with the filming of the camera operator, Kazuo MIYAGAWA, his films were highly regarded.
Japanese: 結果として流麗かつ緊張感にあふれた演出を編み出し、右腕であったカメラマン宮川一夫の撮影とあわせて高評価を得た。
English: Mizoguchi are known not only for his skill in directing intense stories featuring female characters as described above, but also for his rigorous research for the production of historical dramas.
Japanese: 上述通り女性を中心に据えた濃密なドラマの演出に才を見せる一方、歴史劇製作に際しての綿密な考証によっても知られる。
English: When filming "Genroku chushingura," he had the full-scale replica of the matsu no roka built (with the participation of Kaneto SHINDO as a building supervisor).
Japanese: 『元禄忠臣蔵』撮影の際は実物大の松の廊下のセットを製作（建築監督として新藤兼人が参加）した。
English: In "Yokihi," Mizoguchi requested assistance from the Institute for Research in Humanities, Kyoto University, a top research institute on the study of the Tang Dynasty at that time, and he used scores of the Tang Dynasty in the film score with the kind help of the Gagakubu (Music Department) of the Imperial Household Ministry.
Japanese: 『楊貴妃』では当時の中国唐代研究の最高峰である京都大学人文科学研究所に協力を依頼したり、宮内庁雅楽部の尽力により唐代の楽譜を音楽に活用した。
English: Additionally, he is known for handpicking Tadaoto KAINOSHO as a researcher on the setting of a movie and its customs.
Japanese: また、日本画家の甲斐庄楠音を時代風俗考証担当に抜擢した事でも知られる。
English: When actors, who were puzzled when Mizoguchi asked them for retakes without telling them how to act, requested for his help, Mizoguchi never gave any advice, saying, 'It is the actor's job to act.'
Japanese: 役者に演技をつけずやり直しを命じ、悩んだ役者がどうすればいいのか訊いても「演技するのが役者の領分でしょう」といっさい助言などをしなかった。
English: Although his directing style placed a burden on actors and caused stress in them, some actors gave positive comments as Kyoko KAGAWA said, 'What the director says is that actors can act naturally if they come to the set with getting into the mind of the character after much thought. I think he is right.'
Japanese: 出演者に強い負荷と緊張を強いる演出法ながら、「ちゃんと考えて、セットに入るときにその役の気持ちになっていれば、自然に動けるはずだ、と監督さんはおっしゃるんです。それは当然ですよね」という香川京子のコメントなどの好意的な評価も見られる。
English: When directing, Mizoguchi often asked around, 'Are you reflecting?'
Japanese: 演出の際、俳優たちに「反射していますか」と口癖のように言って回った。
English: It is believed that what he meant to say was 'does an actor "reflect" his/her act back to the other actors after their act.'
Japanese: これは「相手役の演技を受けて、自分の演技を相手に“はね返す”」といったような意味合いであったといわれる。
English: Mizoguchi was nicknamed 'Gote Ken' due to these directing styles of reprimanding actors and staff without compromise.
Japanese: こうした一切の妥協を見せず、俳優やスタッフを厳しく叱咤する演出法から、「ゴテ健」とあだ名された。
English: When a row of houses were built for the set of "Saikaku ichidai onna," Mizoguchi came and ordered, 'Move the houses on stage right 1.82 meters to the front!'
Japanese: 『西鶴一代女』で家並みのセットを作ったところ、溝口がやってきて「下手の家並みを間前に出せ」といった。
English: The set, used just for one scene, was not so important.
Japanese: それはほんのワンシーンのためのセットで映画の中でさほど重要ではない。
English: The assistant director bowed his head to reluctant staff in charge of props and had them rebuild the set all night.
Japanese: 助監督はやむなく嫌がる大道具のスタッフに頭を下げて徹夜で作り直させた。
English: In other words, what Mizoguchi said was to put them back to the original position; outraged by this, the assistant director went home.
Japanese: つまり結局は元に戻せということであり、助監督は激怒して帰宅してしまった。
English: These unreasonable orders, however, are believed to have been his last resort to buy time when he was distressed with the difficulty in directing a film.
Japanese: ただしこの無茶苦茶な指示のは、演出に行き詰って苦悩してた溝口が時間稼ぎに行った苦肉の策だったともいわれる。
English: Talented staff such as Kazuo MIYAGAWA (camera operator), Yoshikata YODA (screenwriter), Hiroshi MIZUTANI (art director) and Fumio HAYASAKA (musical Director) had joined Mizoguchi's group.
Japanese: 宮川一夫（カメラマン）、依田義賢（脚本）、水谷浩（美術）、早坂文雄（音楽）といった才能あふれるスタッフが溝口組に参加していた。
English: Among them, Mizutani is less known than the others in Japan, but on the other hand, he is most famous in France.
Japanese: 中でも水谷は日本では他のスタッフより知名度が低いが、反対にフランスでは水谷が一番有名。
English: Mizoguchi rarely had personal relationships with people in the film industry, but he formed a friendship with Kinuyo TANAKA both personally and professionally.
Japanese: 映画人との私的な交際はあまり見られなかったが、田中絹代とは公私にわたる親交を育んだ。
English: There is a story to show his friendship with Tanaka: When filming "Oyu-sama," he said to Tanaka, who had been often described as 'not beautiful (but good at acting)' since childhood, 'I will film you most beautifully.'
Japanese: 田中との親交を物語るエピソードとして、幼時から「美人ではないが（演技力がある）」という冠詞をもって語られることの多い田中に、『お遊さま』撮影に際し「あなたを最も美しく撮ります」と語ったという話がある。
English: Then, he even let slip his intention to propose to Tanaka to Ozu and Shindo.
Japanese: また溝口は小津や新藤らに、田中への求婚の意志を漏らしたことがあった。
English: The relationship with Tanaka is said to have turned sour because Mizoguchi said, 'With her knowledge, Tanaka can not be a director,' when he was informed of Tanaka's directing a movie.
Japanese: 田中とはその後、彼女が映画監督をやることになったことを記者から聞かされて「田中の頭では監督は出来ません」と答え、これがもとで関係が冷却したといわれている。
English: It is said, however, that this comment was made out of jealousy for the fact that Tanaka was leaving him for a new career.
Japanese: ただしこのコメントには田中が自分の元から離れてしまうことへの嫉妬心があったともいわれる。
English: After his death, Tanaka said, 'I have some feeling towards him, which can not be explained by the simple fact that we are not related' (from "Aru eiga-kantoku no shogai," or Kenji Mizoguchi: The Life of a Film Director).
Japanese: その田中は溝口没後、「他人だからという言葉では割り切れないものが、やっぱりわたしにはございますね」と語っている（『ある映画監督の生涯』）。
English: He was abusive to Ayako WAKAO, calling her 'Hey, Kid!' without ever calling her name when directing "Gion bayashi," and also saying to her, 'You have ugly features' when filming "Akasen chitai."
Japanese: 『祇園囃子』の際、若尾文子に対して決して名前を呼ばず「おい､子供」、『赤線地帯』の際には「顔の造作が悪い」と罵倒した。
English: When directing "Yokihi," Mizoguchi even insulted in front of the crowd Takako IRIE, his old supporter who had hired him to work at Irie Production and paved the way for his being called a great director, by saying 'You can't act gracefully because you have been playing cat monsters too much.'
Japanese: かつて入江ぷろだくしょんに雇われ、名匠と呼ばれるきっかけを作った恩人でもあった入江たか子に対してすら、『楊貴妃』の際「化け猫ばかりやってるからそんな芸格のない芝居しか出来ないのだ」と満座の中で罵倒している。
English: He also rudely said to Mitsuko MITO during the filming of "Ugetsu Monogatari," 'Are you saying you've never been gang raped before?'
Japanese: また『雨月物語』の際、水戸光子に向かって、「あんたは輪姦された経験がないんですか!」と言い放った。
English: He treated only Kinuyo TANAKA in a gentlemanly manner all the time except when he made the remark 'with her head....'
Japanese: 一人田中絹代に対してのみは、「田中の頭では」の一言を除いて、常に紳士的な態度を崩さなかった。
English: During the filming of "Waga koi wa moenu" (Flame of My Love), moreover, Mizoguchi said to Ichiro SUGAI, 'You are suffering from brain syphilis! You should see the doctor!'
Japanese: 他に『わが恋は燃えぬ』の際、菅井一郎に向かって、「君は脳梅毒です!医者に診てもらいなさい!」と言い放った。
English: When directing "Sansho dayu," he said to a child actor, 'This kid is hopelessly stupid!' upsetting his mother nearby.
Japanese: 『山椒大夫』の際、子役に向かって「この子はどうしようもないバカだね!」と言い、すぐ近くにいた母親を落胆させている。
English: During the filming of "Ugetsu Monogatari," on the other hand, Mizoguchi is said to have shown his appreciation by being the first to offer and light a cigarette when Masayuki MORI delivered a superb performance and asked 'Would anybody give me a cigarette?'
Japanese: 一方で『雨月物語』撮影中には、会心の演技を見せた森雅之が「誰かタバコをください」と言った時に、自ら率先してタバコを差し出し、火を点けて労ったという話もある。
English: According to Eisei KOI, who was the producer of "Saikaku ichidai onna," Director Mizoguchi was selfish, obedient to authority figures, and cruel to inferiors; and that is why he was hated by actors and staff.
Japanese: 『西鶴一代女』を製作した児井英生によると溝口監督はわがままで、権威のある人には弱く、目下のものには横暴というタイプであるため、役者からもスタッフからも嫌われていた。
English: Moreover, Mizoguchi sometimes pocketed props used for films secretly and added part of his living expenses to film production costs.
Japanese: さらに映画で使われた道具を内緒で自分のものにしてしまったり、自分の生活費の一部を映画の製作費から支払わせていたということもあった。
English: Some people such as Kaneto SHINDO, who admired Mizoguchi, yet considers him decent in terms of his character.
Japanese: ただし、溝口に崇拝の念を抱いている新藤兼人などは人格面でも一定の評価を下している。
English: Although he did not have many friends, Mizoguchi had a long friendship with his childhood friends, Matsutaro KAWAGUCHI and Shotaro HANAYAGI.
Japanese: 友人は少なかったが、幼馴染の川口松太郎や花柳章太郎とは長年にわたって親交を結んだ。
English: When "Ukigumo" (Floating Clouds) directed by Mikio NARUSE was much talked about, Mizoguchi, strongly recommended by his assistant director at that time, saw the movie and remarked to the assistant director, 'Does he have balls?'
Japanese: 成瀬巳喜男の『浮雲(映画)』が話題になっていたとき、当時の助監督の熱心な勧めによって鑑賞したが、その助監督に「成瀬には金玉が付いとるのですか」と感想を語ったことがある。
English: Tazuko SAKANE, the first female director in Japanese cinema, worked as an assistant director for Mizoguchi's films before World War II.
Japanese: 日本映画史上初の女性監督は坂根田鶴子（さかねたづこ）で、彼女は戦前の溝口作品で助監督を務めていた。
English: Also, the second female director was Kinuyo TANAKA, and this means that Mizoguchi was closely related to the first and second female directors.
Japanese: そして二人目は田中絹代であり、溝口は女性監督第1号と第2号に深く関わっていることになる。
English: Mizoguchi was enraged when he was ordered by a film studio to use a rookie named Kazuo MIYAGAWA.
Japanese: 映画会社から新人だった宮川一夫を使うよう命じられて、溝口はひどく立腹した。
English: Once he worked with Miyagawa, however, Mizoguchi, recognizing his talent, trusted him as his right-hand man and even accepted many of his suggestions for shooting in particular.
Japanese: しかし、いざ仕事をしてみるとその才能を認めた溝口は宮川を右腕として信頼し、こと撮影に関しては彼の意見の多くを取り入れる任ほどだった。
English: Later, when Miyagawa was unable to join the next scheduled film directed by Mizoguchi due to the delay of the film by a different director, Mizoguchi protested against the studio, saying, 'Are you going to break us up?'
Japanese: 後に別の監督の作品が撮影が延びに延びたため宮川がその次に予定されていた溝口の作品に参加できなくなると、今度は「僕たちの仲を裂くんですか!」と会社に猛抗議するほどだった。
English: When Mizoguchi was excited about the performance of actors, his hands tended to tremble, so much so that their vibrations were transmitted to the video camera next to him.
Japanese: 溝口は俳優の演技に興奮すると我を忘れて手をブルブル震わせる癖があり、その振動が横にあるカメラにまで伝わるほどだった。
English: Thus, when a film was shot from an unstable position such as from high above, iron plates as heavy as his weight were placed next to the camera during a take and he was asked to move to another location.
Japanese: そこで高い場所など不安定な位置からの撮影時は、本番になると溝口と同じ体重分の鉄板をカメラの横に置いて、本人は別の場所に移動してもらっていた。
English: One picture shows that Mizoguchi, who liked to see from the position as close to the camera as possible, sat on the zabuton (Japanese floor cushion) placed on top of a ladder as if on horseback.
Japanese: 本番もできるだけカメラと同じ位置で見ようと、梯子の上に座布団を乗せて馬乗り状態の溝口の写真が残っている。
English: When he noticed the picture in the rushes (unedited print for checking) shaking, however, he laughed shyly and honestly admitted his fault, saying, 'Did my hands tremble this much?'
Japanese: しかし、ある日ラッシュ（未編集の下見用フィルム）で画面のブレを目の当たりにして、「こんなに震えてるのかい?」と照れくさそうに笑っいながら素直にその非を認めたという。
English: The filming of his next work scripted by Yoda "Osaka monogatari," however, had already begun.
Japanese: しかし、依田の手による次回作『大阪物語』は既にクランクインしていた。
English: He was particularly eager to film this story because he highly regarded Saikaku for his vitality full of emotions.
Japanese: 溝口は西鶴の人間味溢れるバイタリティを高く評価していたため、この作品の映画化にとりわけ執念を燃やしていた。
English: He even said to his staff including Kaneto SHINDO who had hurried to the hospital, 'I figured out how to direct the final scene,' but he died shortly thereafter.
Japanese: 見舞いに駆けつけた新藤兼人らに「ラストシーンの演出ができた」と語っていたほどだが、間もなく死去した。
English: Kaneto SHINDO (April 22, 1912 -) is a Japanese movie director and screenwriter.
Japanese: 新藤兼人（しんどうかねと、本名：新藤兼登（読み方同じ）、1912年4月22日-）は日本の映画監督、脚本家である。
English: His grandsons Kaze SHINDO and Rikiya SHINDO are a film director and a ring announcer for DDT Pro-Wrestling respectively.
Japanese: 孫の新藤風は映画監督、新藤力也はDDTプロレスリングのリング・アナウンサー。
English: He was born in 1912 in Ishiuchi-mura, Saeki-gun County, Hiroshima Prefecture (present-day Itsukaichi-cho, Saeki Ward, Hiroshima City).
Japanese: 1912年、広島県佐伯郡石内村（現・広島市佐伯区五日市町）に生まれる。
English: He was born to a wealthy farmer's family in Ishiuchi-mura, a farming village located over one mountain from Hiroshima City, but his father went bankrupt because he co-signed a loan, and the family split up when he was 14 years old.
Japanese: 石内村は広島市内から一山越えた農村で豪農の家に生まれるが、父が借金の連帯保証人になったことで破産し、14歳の頃に一家は離散。
English: He was attracted to motion pictures, often commuting to Hiroshima City located on the other side of the mountain and returning home late at night while lighting his way with a paper lantern.
Japanese: 活動写真に惹かれ、山向こうの広島市内へ足繁く通い夜遅く提灯を下げて帰宅した。
English: In 1933, he developed aspirations to become involved in film when he was moved by a the film "Bangaku no Issho" (The Life of Bangaku) by Sadao YAMANAKA while he was staying at his elder brother's home in Onomichi.
Japanese: 1933年、尾道の兄宅に居候中に見た山中貞雄の映画『盤獄の一生』に感激し映画を志す。
English: He saved money working as a temporary employee at a bicycle wholesaler for a year and a half before leaving for Kyoto in 1934 with the aid of a detective at the Kyoto Prefectural Police to whom he was introduced by his older brother who was also a detective.
Japanese: 1年半の自転車問屋の臨時雇いで金を貯め、刑事をしていた兄の紹介で京都府警の刑事の伝手を頼りに1934年、京都へ出る。
English: After one year, he began his career in film with a job drying film at the developing department of Shinko Cinema.
Japanese: さらに1年ほどたった後、入ることが出来たのは新興キネマ現像部でフィルム乾燥の雑役から映画キャリアをスタートさせる。
English: Far from the world of creativity to which he had aspired, he spent one year wearing wellington boots and doing a tough job as scrubbing and washing.
Japanese: 目指す創造する世界とはかけ離れた長靴を履き辛い水仕事を1年ほどする。
English: In 1941, he went to Kyoto for one year as a building supervisor for Kenji MIZOGUCHI's film, "Genroku Chushingura" (The 47 Ronin).
Japanese: 1941年、溝口健二の『元禄忠臣蔵』の建築監督として1年間京都に出向。
English: Mizoguchi would taught nothing to the actors but when asked a question, he simply reply 'please reflect.'
Japanese: 溝口は俳優から演技を聞かれても「反射してください」というばかりで何も俳優に教えない。
English: He wrote a script and submitted it to Mizoguchi, but his work was harshly criticized as 'this is not a script, but a story.'
Japanese: シナリオを1本書いて溝口に提出するが、「これはシナリオではありません、ストーリーです」と酷評され、
English: Inspired by encouragement from his common-law wife who was a continuity supervisor, he read as many theater scripts as possible and vowed to start anew.
Japanese: スクリプターをしていた内妻の励ましで奮起し劇作集を読みあさり再出発を誓う。
English: His common-law wife contracted tuberculosis, and she died because poverty prevented her from getting sufficient nutrition.
Japanese: この内妻は結核に罹るが、貧しさのためろくに栄養をつけることができず死去。
English: The Director Mizoguchi learned of this, contacted Kaneto and invited him to dinner in Gion for the first and only time in his life.
Japanese: これを知った溝口監督から連絡があり生涯ただ1度だけ祇園で御馳走にあずかる。
English: In 1944, Koa Eiga where he worked, was taken over by Shochiku Ofuna Studios, and he moved to the screenplay department.
Japanese: 1944年、所属していた興亜映画が松竹大船撮影所に吸収され脚本部へ移籍。
English: In April of the same year, before he could write one single script, he was drafted into the Kure City Kaiheidan (Sailor Corps) as a nitohei (second rank officer).
Japanese: 同年4月、脚本を1本も書かないうちに召集され二等兵として呉市海兵団に入団。
English: Although he was aged 32, he was worked hard by private first-class soldiers who were younger than him, and had to serve as their assistant.
Japanese: 既に32歳ながら年下の上等兵の若者に扱き使われ、彼らの身の周りの世話をする。
English: He wrote Mizoguchi's first film since the war, "Josei no Shori" (Victory of Women) (1946) and "Waga Koi wa Moenu" (Flame of My Love) (1949) for Mizoguchi.
Japanese: 溝口のために溝口の戦後第1作『女性の勝利』（1946年）と『わが恋は燃えぬ』（1949年）を書く。
English: It was a major hit and was ranked number one in the top 10 ranking; reinforcing his position as a screenwriter.
Japanese: 大ヒットしベストテン1位も獲得、シナリオライターとしての地位を固めた。
English: With the box-office failure of "Mori no Ishimatsu" (Ishimatsu of the Forest) in 1949, the Shochiku executives claimed that 'Shindo's screenplays have too strong a social aspect and they are too dark in nature.'
Japanese: 1949年、『森の石松』の興行的失敗等で松竹首脳らが「新藤のシナリオは社会性が強くて暗い」とクレームをつける
English: With Yoshimura and Taiji TONOYAMA, he established the Kindai Eiga Kyokai (Modern Cinema Association), which became the precursor of independent productions.
Japanese: 独立プロダクションの先駈けとなる近代映画協会を吉村、殿山泰司らと設立。
English: He admitted that he did not want anybody else to write the script because of the personal biographical nature of the content.
Japanese: この自伝的な内容の脚本はどうしても他人にやらせたくなかったと告白している。
English: Daiei Motion Picture Company star actress Nobuko OTOWA read the screenplay and expressed that she earnestly wished to play the role of the wife.
Japanese: この脚本を読んだ大映のスター乙羽信子がどうしても妻の役をやりたいと願い出てくる。
English: "Itsuwareru Seiso" (Clothes of Deception), which he took to Daiei, became a major hit in 1951, and it became the crowning work of the Shindo-Yoshimura pairing.
Japanese: また大映に持ち込んだ『偽れる盛装』が1951年大ヒット、新藤吉村コンビの最高傑作となった。
English: In 1952, he released "Genbaku no Ko (movie)" (Children of the Atomic Bomb), which dealt directly with the atomic bomb for the first time after the war.
Japanese: 1952年、戦後に初めて原子爆弾を直接取り上げた映画『原爆の子(映画)』を発表。
English: Otowa said, 'I don't care that I am in the shadow (not married to him),' and resigned from the Daiei Motion Picture Company that launched her career.
Japanese: 「（籍を入れない）日陰の身でもかまわない」と言う乙羽は売り出してもらった大映を辞めた。
English: Furthermore, this work created controversy in various countries including West Germany, where it was confiscated by the military officials as an anti-war movie.
Japanese: また西ドイツでは反戦映画として軍当局に没収されるなど、各国で物議を醸した。
English: It received numerous awards including the Peace Prize of the Czech International Film Festival, the United Nations Award of the British Film Academy, and Polish Journalists Association Honorary Award, as well as becoming the world's first anti-nuclear film.
Japanese: チェコ国際映画祭平和賞、英国フィルムアカデミー国連賞、ポーランドジャーナリスト協会名誉賞など多くの賞を受け、世界に於いても反核映画の第1号となった。
English: He went on to become an independent film maker who directed his own screenplays using his own funds.
Japanese: 以降は自作のシナリオを自らの資金繰りで監督する独立映画作家となった。
English: At around this time, the Japanese movie industry began to show signs of decline, and large film companies began to experience management problems.
Japanese: この頃、同時期に日本映画に衰退の陰りが見え大きな映画会社の経営が困難になり始めた。
English: However, recession in the movies as an industry was also an opportunity for social films and avant-garde films to make great strides.
Japanese: しかし、産業としての映画の衰退は社会派映画や前衛芸術映画の躍進のチャンスでもあった。
English: The system under which cinemas were monopolized by large film companies was relaxed, and it became possible for films created by small independent professional film makers to be shown.
Japanese: 大映画会社による映画館の独占支配体制が緩み、小さな独立系プロの製作する映画にも上映の機会を得ることができるようになった。
English: There were no funds available for the cinematic poem "Hadakano Shima" (The Naked Island) which had no spoken dialogue and was filmed in 1960.
Japanese: 1960年に撮った台詞のない無言の映画詩『裸の島』は資金がなかった。
English: It was filmed on location on the Seto Inland Sea with 2 cast and 11 staff members as a work commemorating the dissolution of Kindai Eiga Kyokai.
Japanese: 近代映画協会の解散記念作品にとキャスト2人・スタッフ11人で瀬戸内海ロケを敢行。
English: This showed that it was possible to film a high-quality film on an extremely tight budget aimed at a limited audience.
Japanese: これにより、限られた観客を相手に、極端に低い製作費で優れた作品を撮ることが可能であることを示した。
English: It proved that film makers could attain freedom of expression and creativity by distancing themselves from the capital constraints of large film companies.
Japanese: 大会社の資本制約から離れる事で自由な映画表現と制作ができる事を証明した。
English: This film received the Grand Prix at Moscow International Film Festival, and Shindo was recognized as an international film maker.
Japanese: 作品はモスクワ国際映画祭でグランプリを獲り、新藤は世界の映画作家として認められた。
English: There were many offers from film buyers of various countries during the Moscow International Film Festival.
Japanese: また、モスクワ国際映画祭の際には、各国の映画バイヤーから次々に買い入れの申し入れがあった。
English: (Meetings were held in which all staff members participated, and opinions were exchanged with everyone exceeding their original positions.)
Japanese: （スタッフ全員参加のミーティングを行い、本来の持ち場を越えて意見を交換する。等）
English: Above had a great influence on the production of independent films in the subsequent Japanese film industry.
Japanese: これらは、その後の邦画界におけるインディペンデント映画の製作に、多大な影響を与えたとされる。
English: From then on, he released works that raised social problems such as "Daigo Fukuryumaru" (Lucky Dragon No. 5) and "Sakuratai Chiru" (Fall of the Sakura Troop) with radiation as their subject, "Hadaka no Jukyusai" (A Naked Nineteen-Year Old) based on Norio NAGAYAMA of the multiple shooting incident, "Kosatsu" (Strangling) dealing with domestic violence, "Sei no Kigen" (The Origin of Sex) with a theme of death and impotence, and "Gogo no Yuigonjo" (A Will in the Afternoon) that used aging as its subject.
Japanese: 以降は放射能を題材とした『第五福竜丸(映画)』、『さくら隊散る』、連続拳銃発砲事件の永山則夫を題材にした『裸の十九才』、家庭内暴力に材を取った『絞殺』、死と不能をテーマにした『性の起源』、老いをテーマとした『午後の遺言状』など社会に問題提起を投げかける作品を発表。
English: Furthermore, with his principle to 'never refuse a job request,' he worked on numerous scripts for projects sponsored by major movie companies while he produced his own movies at the Kindai Eiga Kyokai.
Japanese: また「頼まれた仕事は断らない」を信条に、近代映画協会における自作の映画制作と平行し、大手映画会社の企画作品の脚本をも多数手がけた。
English: Among them are various productions including great works that left their mark on cinema history, highly talked about productions as well as productions that received little praise, but from the viewpoint that 'a highly talented artist produces many creations,' it can be said that he possesses an outstanding talent.
Japanese: 中には映画史に残る名作、話題作や評価の低い作品も色々あるが、「優れた芸術家は多作である」という観点からいくとこれも秀でた才能といえる。
English: Included among his highly praised works are: "Shitoyakana Kemono" (Graceful Beast) (1962) directed by Yuzo KAWASHIMA, "Kenkaerejii" (1966) directed by Seijun SUZUKI, " and "Hachiko Monogatari" (Story of Hachi) (1987) directed by Seijiro KOYAMA.
Japanese: 評価の高い作品には川島雄三監督/『しとやかな獣』（1962年）、鈴木清順監督/『けんかえれじい』（1966年）、神山征二郎監督/『ハチ公物語』（1987年）などがある。
English: His entertainment and mystery films include "Kurotokage" (Black Lizard) (1962) - a musical adaptation of the original work of Ranpo EDOGAWA.
Japanese: 娯楽怪作としては江戸川乱歩の原作をミュージカル仕立てにした『黒蜥蜴』（1962年）などがある。
English: Including television dramas and theatrical plays, the scripts that he worked on number as many as 370, and he has received numerous awards.
Japanese: TVドラマ、演劇作品も含めると手がけた脚本は370本にも及び、多くの賞を受賞した。
English: His theory is, 'drama and life both consist of 3 stages: beginning, conflict, and ending.'
Japanese: 「ドラマも人生も、発端・葛藤・終結の3段階で構成される」というのが持論である。
English: The majority of his directorial productions are artistic works with dominant social themes, but as a screen writer he has many works that have strong entertainment aspect.
Japanese: 監督としては社会的テーマを強く打ち出した作品が文芸作品が殆どであるが、脚本家としては娯楽色の濃い作品も多い。
English: He also has an artisan-like side to him that enables him to demonstrate a great degree of skill in the genres of comedy and mystery.
Japanese: コメディやミステリーなどにも高い技術を発揮するアルチザン的側面も持つ。
English: Even now, he continues to work actively, and with a 70 year career in film, he is known as one of the oldest filmmakers in the world..
Japanese: 現在も現役で活躍、70年の映画キャリアを誇り、世界最長老の映像作家のひとりである事で知られる。
English: In 2007, he debuted as a leading actor at the age of 95 in "Riku ni Agatta Gunkan" (A Warship That Came Ashore) (directed by Yasuhiro YAMAMOTO), which is a screenplay based on his own experiences in the war.
Japanese: 2007年には自らの戦争体験を脚本化した『陸に上った軍艦』（山本保博監督）で、95歳にして映画初主演を果たした。
English: He also has many disciples such as Kazuo IKEHIRO, Seijiro KOYAMA, Shigeki CHIBA, Minoru MATSUI, Uson Kim, Hirotaka TASHIRO, and Kumiko TABUCHI.
Japanese: また池広一夫、神山征二郎、千葉茂樹、松井稔、金佑宣、田代廣孝、田渕久美子ら多くの門下生を出した。