nntsuzu/KFTT huggingface dataset:
English: In the following year, 1965, he showed great preposterous picture and film techniques in "Kuroi Tobakushi Akuma no Hidarite" (Black gamester's devil left hand) which was the last in the series.
Japanese: 翌昭和40年（1965年）、シリーズ最終作となる『黒い賭博師悪魔の左手』でも度が過ぎるほどの荒唐無稽さと映画テクニックで見せるなど健闘を続ける。
English: After 1967, invited by Shaw Brothers in Hong Kong, he remade his own works such as "Yaro ni Kokkyo wa nai" (He does not care about national borders), "Kurutta Kajitsu" and "Ryojin Nikki" and directed "Hiten Joro" (Trapeze Girl) for which the scenario was written by Yusuke WATANABE (with no credit).
Japanese: 昭和42年（1967年）以降、香港のショウ・ブラザーズに招かれ、自身の『野郎に国境はない』、『狂った果実』、『猟人日記』をそれぞれリメイクした他、渡辺祐介脚本（ノンクレジット）の『飛天女郎』を監督。
English: However, while Nikkatsu Corporation had been losing power, he was fired after directing "The Spiders no Daishingeki" (The outstanding performance of The Spiders) in 1968, which was partly because he had been warned about drinking on the set.
Japanese: だが、日活が勢いを失っていく中、撮影時の飲酒を咎められるなどもあり、昭和43年（1968年）『ザ・スパイダースの大進撃』を持って日活を解雇される。
English: He produced "Yami no naka no Chimimoryo" (Evil spirits in the dark) with the scenario written by Kaneto SHINDO who had sometimes written scenarios for Nakahira's films and had been relied upon by him since Nakahira was an assistant director, was listed in the competition of the 24th Cannes International Film Festival and received a good reputation.
Japanese: 中平作品の脚本を度々担当し、助監督時代から信頼していた新藤兼人に脚本を依頼して製作した『闇の中の魑魅魍魎』が第24回カンヌ国際映画祭コンペティション部門に撰ばれ好評を博した。
English: However, the film director Nagisa OSHIMA, whose film was not listed, strongly protested against the office of the Cannes International Film Festival, and caused a fuss (On the background, although there was a provision that only one film could be listed officially from one country, the Motion Picture Producers Association of Japan, Inc. sent both films of Nakahira and Oshima, and the office of Cannes International Film Festival selected "Yami no naka no Chimimoryo" as the official film).
Japanese: だが、これに洩れた大島渚監督が選考経緯不明瞭としてカンヌ国際映画祭事務当局に強く抗議、騒動となった（日本映画製作者連盟が正式出品作は1国につき1作品の規定にも関わらず、中平・大島両監督の作品を送り、カンヌ国際映画祭事務当局によって『闇の中の魑魅魍魎』が正式出品作として選ばれたという経緯があった）。
English: On the other hand, Nakahira later criticized Oshima 'Because it is a film festival held by France, we should not criticize how they do it and it is wrong to protest against it,' but as a result, "Yami no naka no Chimimoryo" could not receive a prize.
Japanese: これに対して後に中平も「フランスの主催する映画祭なのですから文句をつけるものでもなく、抗議は筋違い」と大島監督を批判しているが、結果的に『闇の中の魑魅魍魎』は受賞を逃す。
English: In the following year, 1972, he was invited to Kindai Eiga Kyokai (Modern film society) led by Shindo and directed the two Sukeban (female outlaw) action movie of "Konketsuji Rika" (Rika the Mixed-Blood Girl) and "Konketsuji Rika Hitoriyuku Sasuraitabi" (Lonely Wanderer) in the following year, which were unique among Nakahira's works, and consequently, he showed his talent in directing all types of films.
Japanese: 翌年の昭和48年（1972年）には新藤の率いる近代映画協会に招かれ、中平作品としては意外の『混血児リカ』、さらに翌年にも『混血児リカひとりゆくさすらい旅』という2本のスケバンアクションを撮り上げ、本当にあらゆるジャンルが撮れるという腕の確かさを証明した。
English: In 1974 he was invited by Shin Film in Republic of Korea and directed "Seishun Fujichaku" (Emergency landing in adolescence), remaking his own film "Kurenai no tsubasa" (Writer and Co-director).
Japanese: 昭和49年（1974年）、大韓民国の申フィルムに招かれ、『青春不時着』にて自身の『紅の翼』をリメイク（脚本・共同監督）。
English: He introduced the golden ratio for the screen (1:1, 618), which was seen as the best for human's eye, in "Hensokyoku" (Variation) which was shot on location in France insisting on decadence in the Art Theatre Guild in 1976, for the first time in the world.
Japanese: 昭和51年（1976年）に日本アート・シアター・ギルドで撮ったデカダンス描写にこだわりを見せたオールフランスロケの意欲作『変奏曲』では、人間の目に最も好ましいとされる画面・ゴールデン・セクション・サイズ（1：1､618）を、映画としては世界で初めて導入する。
English: Some people guess that the financial trouble and other problems which occurred at that time and lasted after the start of filming made him feel very exhausted.
Japanese: この時のクランクイン後まで続いた金銭トラブルや諸々の問題は中平をかなり疲弊させたとの見解もある。
English: Since then, he stayed away from the screen and produced some TV two hours dramas, most of which were suspense dramas where film techniques were important.
Japanese: 以後、映画界からは遠ざかり数本のテレビ用2時間ドラマを演出するが、そのほとんどが映画テクニックが要となるサスペンス物である。
English: It is said that when it was discovered that he had terminal stomach cancer, he was not be told about it directly.
Japanese: 胃癌の末期であることが分かり、胃癌であることは本人には直接には伝えられていなかったともいわれる。
English: Anyway, in spite of terminal stomach cancer, he staged a TV drama "Saturday Night at the Mysteries, Tears, Wait Until Dark" while being put on a drip and lying on a stretcher, which was a remake of the suspense film "Wait Until Dark" starring Audrey Hepburn.
Japanese: 結局、胃癌の末期状態でありながらも、点滴を射ち、担架に寝ながら演出したオードリー・ヘップバーン主演のサスペンス『暗くなるまで待って』をリメイクしたテレビ用2時間ドラマ『土曜ワイド劇場涙・暗くなるまで待って』が遺作となる。
English: These TV dramas in his late years were offered by Takiko MIZUNOE who had promoted him from an assistant director to a director and had admitted his talent through life.
Japanese: これら晩年のテレビの仕事は、彼を助監督から監督に昇進させ、最後まで彼の才能を買っていた水の江滝子によって与えられた仕事であった。
English: People in the film industry such as Akira KUROSAWA and Minoru SHIBUSAWA paid their last respects and it is said that some of them said, 'Nobody loved film like he did.'
Japanese: 葬儀には黒澤明、渋谷実らの姿も見られ、「彼ほど映画が好きだったやつはいない」と語る映画関係者もいたと伝えられる。
English: It is said that in his later years he hoped to make a film starring Judy Ongg like "Love in the Afternoon" starring Audrey Hepburn and directed by Billy Wilder, and make other books into films such as "The Moon and Sixpence" written by Maugham and "Balzac" a biographical novel written by Stefan Zweig.
Japanese: 晩年は、オードリー・ヘプバーン＆ビリー・ワイルダーの『昼下がりの情事』のような映画をジュディ・オング主演で映画にしたいと口にしたり、モームの『月と六ペンス』や、シュテファン・ツヴァイクによる伝記小説『バルザック』等の映画化を希望していたという。
English: Nobuhiko KOBAYASHI (Yumihiko NAKAHARA) gave high marks for Nakahira's films such as "Gyunyuya Furanki" in 1956 and "Chizu no nai Machi" in 1960 after both of them were released.
Japanese: 小林信彦（中原弓彦）は、昭和31年（1956年）の『牛乳屋フランキー』や昭和35年（1960年）の『地図のない町』等で封切り当時から中平作品を高く評価していた。
English: He wrote that "Gyunyuya Furanki" was 'a masterpiece in the history of films in Japan' in 'Shosatsu no Bigaku - Eizo ni okeru Warai towa nanika' (Aesthetic of laughter, what is laughter in films?) (published by Daikosha) in 1971.
Japanese: 小林信彦（中原弓彦）は、昭和46年（1971年）に「笑殺の美学―映像における笑いとは何か」（大光社）の中で、『牛乳屋フランキー』について「日本映画史に残る傑作」と書いた。
English: The figure of Frankie SAKAI in this film when he delivered two bottles of milk at once wearing white overalls and gun belt (which brought back memories of Nakahira's style during his assistant director stage) became legendary.
Japanese: 劇中でフランキー堺が見せる、白いツナギ服にガンベルトを装着した二挺拳銃式牛乳配達（中平の助監督時代のスタイルを思わせる）など伝説となった。
English: "Gyunyuya Furanki," however, lacked a part of the original 35 mm film after the release, so that it had been said to be 'a phantom masterpiece.'
Japanese: しかし、『牛乳屋フランキー』は公開後、35ミリ原版の一部が欠落しており、「幻の傑作」といわれてきた。
English: But the full 16 mm film was discovered in the library at Yugawara-cho Kanagawa Prefecture and was remade into a Laser Disc as 'revival version' in 1992 by Nikkatsu corporation, which made the name of Nakahira known among young people.
Japanese: ところが16ミリ化された全長版が神奈川県湯ヶ原町の図書館で発見され、平成4年（1992年）、にっかつ（現・日活）から「復元版」としてレーザーディスク化され、若い世代にも中平の名が知られるところとなった。
English: After that, Nobuhiko KOBAYASHI recognized that 'Major works of Yuzo KAWASHIMA and Ko NAKAHIRA were still vanguard,' which led to today's reevaluation.
Japanese: その後も小林信彦によって「川島雄三と中平康の主要作品は今でも前衛なのだ」等と評価されて、今日ある再評価への足掛かりとなる。
English: In 1998, almost 20 years after Nakahira's death, a film critic Milkman SAITO began to revaluate Ko NAKAHIRA.
Japanese: 中平の死後20年近く経った平成10年（1998年）には映画評論家・ミルクマン斉藤による中平康を再評価する動きが見え始めた。
English: In 1999 his eight films were screened in various places in Japan including Shibuya Eurospace under the title of 'Ko NAKAHIRA Retrospective,' when "Biography of a Black Sheep Film Director 'Ko NAKAHIRA'" written by Mami NAKAHIRA was published (Wise Publishing, Inc), which immediately led to the momentum for reevaluation.
Japanese: 平成11年（1999年）には中平まみ著『ブラックシープ映画監督「中平康」伝』（ワイズ出版）刊行記念「中平康レトロスペクティヴ」と題して映画8作品が渋谷ユーロスペース他、全国で上映され、一気に再評価の気運が高まる。
English: In 2003, a large memorial screening titled 'Ko NAKAHIRA Retrospective, a pioneer director who designed films' that was supported by the 16th Tokyo International Film Festival was held in various places throughout Japan, including Shibuya Eurospace; this screening, which attracted a lot of attention, included not only all the films he made in Japan except for "Yami no naka no Chimimoryo" and "Hensokyoku," but also the two films he produced in Hong Kong, "Kyorenshi" and "Karyudo."
Japanese: 平成15年（2003年）には第16回・東京国際映画祭協賛企画「映画をデザインした先駆的監督・中平康レトロスペクティヴ」として『闇の中の魑魅魍魎』と『変奏曲』を除く国内の映画全作品に加えて、日本初公開となる『狂恋詩』、『猟人』の2本の香港作品まで上映させるという大規模な回顧上映が渋谷ユーロスペース他、全国で開催され多くの注目を集めた。
English: After the screening of "Yuwaku," which showed the light and refined features, in Eurospace, its fresh surprising impression brought waves of applause.
Japanese: ユーロスペースでは、軽妙洒脱な持ち味が出た『誘惑』上映後に、その新鮮な驚きと感動で場内に拍手が上がったほどであった。
English: At the time of this memorial screening, an event that included Milkman SAITO and Masako TOGAWA, who were familiar with Nakahara as she played the second lead in "Ryojin Nikki," talked about Ko NAKAHIRA at her salon 'Blue room,' where many young film fan joined.
Japanese: この回顧上映時には『猟人日記』に準主演するなどして中平作品とも関わりのあった戸川昌子が主催する文化サロン「青い部屋」にてミルクマン斉藤と戸川による中平康トークイベントも開催され、こちらも若い映画ファンを中心に賑わいを見せた。
English: In addition, when Mariko KAGA visited Eurospace as a guest of a talk show for the screening of "Getsuyobi no Yuka," she said to the young audience, '("Getsuyobi no Yuka") is not like the film of a master, is it? But that has made it all the more popular with the public.'
Japanese: またユーロスペースでは『月曜日のユカ』上映に併せて加賀まりこがトークショーのゲストとして来館、つめかけた若い観客達に向かって「（『月曜日のユカ』は）巨匠の作品ってカンジじゃないでしょう?そこが良かったんじゃない」とコメントした。
English: While, "Kurutta Kajitsu" starring Yujiro ISHIHARA had been known as a masterpiece since the old days, "Getsuyobi no Yuka," which was very photogenic, was also one of the most famous films of Nakahira recognized by many young audiences today.
Japanese: 石原裕次郎の『狂った果実』は古くから名作として知られるところであったが、フォトジェニック極まりない『月曜日のユカ』もまた多くの若い観客達によって現在では最も有名な中平作品となっている。
English: His later work "Yami no naka no Chimimoryo" which was said to be seen as a biography of Ko NAKAHIRA from the present point of view (according to Milkman SAITO) and "Hensokyoku" which aimed to escape from the frame of Japan film were already made into video, so they are easily watched, but their evaluation is controversial (Masahiro OGI selected "Hensokyoku" as the best three films in Kinema Junpo in that year).
Japanese: そして現在の目で見ると中平康の自伝のようにも見える（ミルクマン斉藤による）といわれる後期作品『闇の中の魑魅魍魎』と、日本映画の枠からの脱却を計った『変奏曲』は過去にビデオ化されており比較的鑑賞が容易な作品であるが、評価については賛否が分かれている（荻昌弘は『変奏曲』をその年のキネマ旬報ベストテンのベスト3にあげている）。
English: It was unlucky that many obsolete films of the 60's were screened again at a certain period, and that Nakahira's films were disdained by film fans.
Japanese: 一時期、すっかり陳腐化した60年代作品が多く再上映され、映画ファンに見下げられてしまった不運もある。
English: On the other hand, his earlier works, all said to be masterpieces, can not be watched so often although some people give them very high marks, so that those in which Nakahira fully showed his talent need more reevaluation in future.
Japanese: 対して、傑作揃いともいわれる初期作品は一部で極めて高い評価を得ているにも関わらず、鑑賞の機会が多いとは言えず、中平が本領を存分に発揮していた初期作品については、まだまだ今後の再評価が待たれる。
English: Some people say that 'he was a film director who appeared 20 years early' or guess that Nakahira's works emphasizing sophistication and technique rather than ideas, will be accepted by the audience of the present time rather than viewers at that time.
Japanese: 「20年早かった監督」と言われたり、思想よりも洗練とテクニックを重んじる中平の作品は、現在の観客にこそ受け入れられるのではないかという声もある。
English: On the other hand, it is said that he rapidly became weak in his later years at Nikkatsu, only joining the projects when asked by company and lost the chance to make rapid progress.
Japanese: その一方で、日活時代の後期は急速な衰えを見せて企画も会社お仕着せばかりになり、飛躍の機会を失ったと言われる。
English: While Okamoto, Masumura, Suzuki and others who were called modern school with Nakahira from 60s to 70s became to be treated as a genius or a master, he was left alone and passed away, so that he is one of the film directors who can not fully be reevaluated like Tadashi SAWASHIMA, even now.
Japanese: 60年代から70年代にかけて、モダン派と並び称された岡本や増村、鈴木らが鬼才・巨匠として遇されて行く中、取り残された形で世を去り、今なお沢島忠と共に十分な再評価が得られてはない一人である。
English: In the critical biography written by Okamoto and Rikiya TAYAMA, he often drank heavily during work around this period and lost the reliance of many staff and actors, but these descriptions need to be investigated.
Japanese: 岡本、田山力也の評伝ではこの時期泥酔しながら仕事に臨むことが多くスタッフや俳優の信頼を失墜したように書かれているが、このへんはなお検証を要するところである。
English: In the Pusan International Film Festival of Republic of Korea in 2005, "Kurutta Kajitsu" was introduced and screened with "Ukigumo" (Floating Clouds) directed by Mikio NARUSE, "Kamigami no Fukaki Yokubo" (The Profound Desire of the Gods) directed by Shohei IMAMURA, "Zigeunerweisen" directed by Seijun SUZUKI and so on.
Japanese: 平成17年（2005年）には韓国の釜山国際映画祭にて成瀬巳喜男監督『浮雲(映画)』、今村昌平監督『神々の深き欲望』、鈴木清順監督『ツィゴイネルワイゼン』等と共に『狂った果実』も紹介、上映された。
English: In addition, 'Ko NAKAHIRA Retrospective' was also held in the Republic of Korea, and his films such as "Aitsu to Watashi" became a popular topic as well as the beauty of Izumi ASHIKAWA.
Japanese: また韓国でも「中平康レトロスペクティヴ」が開催され、芦川いづみの可憐さと共に『あいつと私』等、話題となった。
English: On April 23, 2008, Rock Chipper Record Co., Ltd released a compact disc called 'Music of Nikkatsu films, the director series, Ko NAKAHIRA,' which was a collection of music that appeared only in Nakahira films from his years at Nikkatsu.
Japanese: 2008年4月23日、RockChipperRecord社から、日活時代の中平作品の音楽だけを集めたＣＤ「日活映画音楽集～監督シリーズ～中平康」が発売された。
English: From April 12 to May 30, 2009, the 34 films selected from those shot while he belonged Nikkatsu and titled 'The Lone Japan Modernist, film director Ko NAKAHIRA' will be screened at Tokyo Laputa Asagaya.
Japanese: 2009年4月12日から5月30日まで、東京・ラピュタ阿佐ヶ谷にて、「孤高のニッポン・モダニスト映画監督・中平康」と題して日活時代の作品から選ばれた34作品が上映予定。
English: In the close-up of Miasako WATANABE who was watching scenery from a train window near the end, he made the scenery from a train window show in her eyes using a special screen process.
Japanese: ラスト近くで汽車の中で車窓の風景を眺めている渡辺美佐子の顔のアップでは、スクリーン・プロセスを使い車窓の風景を渡辺の瞳の中に反射させて映り込ませた。
English: He shot the scene of billiards by Akira KOBAYASHI for four days by fully using a dolly, and spent 13 days and nights and 100 cuts for the scene of a car crash as its climax.
Japanese: 小林旭のビリヤード・シーンではドリーをふんだんに使い4日間も掛けて撮影し、クライマックスの自動車衝突シーンの撮影では13日間の徹夜となり100カットも使ったという。
English: He panned a camera 360 degrees at the center of a crossing in central Tokyo, and made cars for the shot run from all directions in accordance with the necessity of the story.
Japanese: 東京のど真ん中の交差点の中央でカメラが360度パンし交差点の全ての方向から芝居のタイミングに合わせて必要な劇用車が来るなどさせた。
English: In a way, it seems to be his best film that reflected his techniques and it is said that a set like that will be never seen again.
Japanese: 映画テクニックへの執着としては、ある意味、最高潮に達した作品であると思われ、二度と出来ない壮絶な撮影現場だったと伝えられる。
English: Additionally, it is said that Akira KOBAYASHI remarked about this film; 'I learned the play of film from this film.'
Japanese: 尚、小林旭は本作について「これで映画の芝居を覚えた」と語っているという。
English: It is Nakahira's masterpiece of light and refined films, that brought waves of applause at the time of the screening, 'Ko NAKAHIRA Retrospective, a pioneer director who designed films.'
Japanese: 「映画をデザインした先駆的監督・中平康レトロスペクティヴ」で上映時に拍手も上がった中平の軽妙洒脱路線の名作。
English: Nakahira favored first class and the Ginza, so that he had a set of permanent buildings on Ginza street built, cooperating with Takashi MATSUYAMA who was in charge of art.
Japanese: 一流好みで銀座が好きだった中平は、美術の松山崇と組んで、銀座通りの向かい合ったビルの家並みを本建築で作った。
English: In addition, he made the bar hostesses of Ginza, who he often visited, actually come on stage.
Japanese: そして銀座のバーのマダムやホステスは、実際に中平の行きつけの店にいた本物をセットに連れて来て出演させた。
English: He was immersed in shooting, for example, he made a set of glass-walled two-storied buildings and the actor's movements could be easily seen.
Japanese: 二階建てのビルは上下ガラス張りで人物の動きが見えるようにするなどして凝った。
English: Using a dolly with a crane, he shot the stories at this side and the opposite side of the building, and edited them with a superb cutting.
Japanese: こちら側のビルと向かい側のビルとで展開するドラマをクレーンを使用した撮影と絶妙なカッティングで繋いでみせた。
English: It is said that he took one hour to shoot a scene where Yukiko TODOROKI, who was dancing with Shoji YASUI, found lice on his shoulder, using a 100 mm telephoto lens the longest lens in those days.
Japanese: 安井昌二と踊っている轟夕起子が彼の肩にシラミを発見するシーンでは、当時で一番長かった100ミリの望遠レンズで、シラミを相手に一時間かけて撮ったと伝えられる。
English: It is a suspense film on aircraft which is often seen as a masterpiece characterized by the first-person standpoint of a camera at the beginning, spiral staircase of geometrical design and the opening scene where a balloon flies into the air and reaches the hero's airplane.
Japanese: 巻頭の一人称カメラ、幾何学模様のような螺旋階段、そして風船が空に舞い上がり主人公の飛行機へと繋がるオープニングから冴え渡る、傑作とする声も多い航空サスペンス。
English: In the early part, he relentlessly shot the scene of a few minutes in real time while the Cessna plane did it's takeoff run on runway making this scene more realistic.
Japanese: 前半、セスナ機が滑走路に出て離陸する迄の数分間を執拗なまでにリアルタイムで追い続け、離陸の瞬間を盛り上げた。
English: There is also an episode that since he divided cutting too small, Masanori TSUJII, who was an editor, made a peep.
Japanese: このシーンでは、あまり細かくカットを割ったので編集者の辻井正則が音を上げたというエピソードも。
English: In the scene Yujiro ISHIHARA, Sanae NAKAHARA and others were aboard a Cessna plane that made a crash landing under the watch of criminals with guns at the crack of dawn, he had a semicircular horizont (a stage wall) 70 m wide and 15 m high made in an open space at the airport and the sky before dawn painted in order to express dawn gradually breaking realistically.
Japanese: 夜明けとともに石原裕次郎、中原早苗らが犯人のピストルに監視されつつ不時着したセスナ機に乗り込もうとするシーンでは、徐々に夜が明けてくる状態をリアルに表現するため、まず飛行場の空き地に横70メートル、高さ15メートルの巨大な半円状のホリゾントを建設、夜明け直前の空を描かせた。
English: He repeated the process to shoot some cuts, make the color of horizont brighter, and then shot again for two days and completed the scene from before dawn until dawn broke.
Japanese: 何カットか撮った後、ホリゾントの色を少し明るく塗り変えてから再び撮影をする、という作業を繰り返し、それを二日間も続けて夜明け直前から夜明け迄のシーンを完成させた。
English: It is actually impossible to shoot many cuts at dawn with a real sky because dawn breaks in a minute.
Japanese: このような方法を取らずに、現実の空を使って役者の芝居、カット数もある夜明けシーンを撮ろうとしても、一瞬で空は明るくなってしまうため現実問題として不可能である。
English: However, a shooting method like this that requires time and effort as Nakahira had done, was not usually undertaken.
Japanese: しかしだからといって中平の行ったような手間暇のかかる常軌を逸した撮影方法は行わないのが常識である。
English: But Nakahira practiced it, in spite of company opposition, as a 'Shoot in Hollywood.'
Japanese: だが、中平は会社側の「ハリウッドでやれ」という反対を押し切って実行した。
English: While Nakahira shot the main part of this film, he had Shogoro NISHIMURA, the chief assistant director make the second group (Yoshio MAMIYA was in charge of shooting of the second group) produced very elaborate background for the title.
Japanese: 中平が本編部分を撮影している間、当時チーフ助監督だった西村昭五郎に第二班を編成させ（第二班の撮影は間宮義雄）、凝りに凝ったタイトルバックを撮影させた。
English: The background for the title was a scene of Yuji ODAKA driving a wagon from Tokyo to Niigata consisting of the following shots:
Japanese: 東京～新潟間を疾走する小高雄二の運転するワゴン車にクレジットタイトルが被るもの。
English: From the shot from Odaka's point of view to the shot of Odaka who was driving the wagon panning 180 degree clockwise.
Japanese: 運転する小高の主観ショットから、そのまま右に180度パンして運転する小高を捉えるショット。
English: From the shot of the moving sun which could be seen between trees, to a panning shot of Odaka's point of view on the driver seat.
Japanese: 木々の間から覗く太陽を追う太陽移動ショットから、そのままパンダウンして運転席からの小高の主観ショットへ。
English: From the close-up of the car radio in the wagon, dollied out, to the shot of the direction of travel from the back of Odaka.
Japanese: ワゴン車内のカーラジオ付近のアップから後部座席へドリーアウトして小高の背後から車の進行方向を映すショット。
English: The shot of Odaka on the driver seat taken from a running car in parallel which exactly moved together.
Japanese: 運転席の小高を真横で並行して走る車から捉えてナメるように対向移動していくショット。
English: The shot which seemed as if being taken from a fixed camera that was pendent from the right rear of the running wagon's body, but unpredictably slides to the left and enters inside the car, and showed the credits of 'Director Ko NAKAHIRA,' and so on.
Japanese: 走るワゴン車のボディ後方右に張り出しで取り付けられた固定されたカメラからのショットかと思いきや、意表を突いて横・左方向にスライドしてカメラが車内に入るような形となり、そこに「監督中平康」のクレジットが出るショットなど。
English: Especially in mystery and suspense films, these descriptions that anticipate and set the mood for the future events were important, so he went to any expense to achieve them.
Japanese: 特にミステリーやサスペンスでは、これから起こる出来事を暗示させるような、こうした描写は重要であり、そのためには手間を惜しまなかった。
English: In addition, this scene of the background of title was described in the original scenario written by Kaneto SHINDO only as 'A wagon run feeling the wind. Title and music,' 'A wagon run into a town,' 'A wagon run through the town' and so on.
Japanese: 尚、このタイトルバックは、新藤兼人によるオリジナルの脚本上では「ワゴン車、風を切って走る。タイトル―音楽」、「町へ突入するワゴン車」、「通り抜けるワゴン車」等と書かれているのみである。
English: It was a pure romance that Sayuri YOSHINAGA and Mitsuo HAMADA, who were set up as being in a different social class, fell in love but they could not marry.
Japanese: 身分違いという設定の吉永小百合と浜田光夫が結ばれない恋をする純愛物。
English: Nakahira, who always changed staging and the tone of the screen image to suit the film, made a soft screen image in this film by changing the method of intensifying treatment, so that it had a unique color that was light and blurred (However, this was a sensitive effect which could be reproduced only on the screen in a theater, so that it is difficult to see it on TV or video).
Japanese: 作品によって常に演出や映像のトーンを変える中平は、本作ではフィルムの増感処理の方法を変えてソフトな画面を作っており、色彩も薄く滲んだ独特のトーンになっている（ただし劇場の映写されたスクリーンで観なければ識別できない微妙な効果のため、テレビやビデオ鑑賞では判りにくい）。
English: The montage shot of playing in the snow in which they cheerfully threw snow at each other, was also a famous scene in the film.
Japanese: 楽しげに雪を投げ合う雪遊びのシーンのモンタージュも名場面として有名。
English: Ko NAKAHIRA was good at accentuating 'the charm of supporting actors' by casting actors such as Ko NISHIMURA, Osamu TAKIZAWA, Noboru NAKAYA and Asao KOIKE rather than stars who played the leads, and he was called 'A genius who unpredictably casted unpredictable actors' because of his unique sense of casting and sense of fun.
Japanese: 中平康は、主演格のスターよりも、西村晃、滝沢修、仲谷昇、小池朝雄といった俳優を使い「脇の味」を出すことを得意とし、その独特なキャスティングのセンスと遊び心で「意外なところに意外な人物を出す天才」といわれた。
English: In "Doro darake no Junjo" he casted a hostess who worked for a bar in Ginza which Nakahira often visited as an actress and made her play a hostess who tried to have Mitsuo HAMADA pull her hircus and also casted Keisuke NORO as a newspaper salesman, which were examples Nakahira's unique and superb casting.
Japanese: 『泥だらけの純情』では実際に中平が通っていた銀座のバーで馴染みだったホステスを、浜田光夫に脇毛を抜かせようとするホステス役として起用した他、新聞勧誘員の役で登場する野呂圭介も中平ならではの絶妙な味であった。
English: In "Gendaikko," Mickey YASUKAWA created a cameo of an evil teacher, Kiyoshi ATSUMI as a TV entertainer, and Takiko MIZUNOE as a TV producer, and Eri NAGISA's appearance without any relationship with the storyline was also excellent.
Japanese: 『現代っ子』ではミッキー安川が悪徳教師役で出演し、渥美清がTVタレント役、水の江瀧子がTVプロデューサー役でそれぞれカメオ出演した他、物語のスジとはあまり関係なく出てくる渚エリも絶品。
English: In "Hikaru Umi" Kajiro YAMAMOTO created a cameo as a president of a University who presented a diploma during a graduation ceremony.
Japanese: 『光る海』では山本嘉次郎が大学の卒業式で卒業証書を渡す校長としてカメオ出演。
English: In "Kuroi tobakushi" Yoshiro KATO, a cartoonist, became a cameo as a gambler on a train.
Japanese: 『黒い賭博師』では漫画家の加藤芳郎が汽車の中のギャンブラー役で出演。
English: In "Yaro ni Kokkyo wa nai" Manami FUJI created a cameo as a beautiful passenger who happened to sit in a seat next to Akira KOBAYASHI on a plane.
Japanese: 『野郎に国境はない』では冨士眞奈美が旅客機の乗客として小林旭の隣に乗り合わせる美女としてワンシーン出演。
English: In "Kuroi Tobakushi Akuma no Hidarite" Shoko TOGAWA became a cameo of the first queen of the Pandora Kingdom, Izumi HARA as a professional gambler, and Judy Ongg as a professional 'young boy' gambler.
Japanese: 『黒い賭博師悪魔の左手』では戸川昌子がパンドラ王国の第一王妃役でカメオ出演、原泉は凄腕のギャンブラー役、ジュディ・オングは凄腕の「少年」ギャンブラー役で出演。
English: In "Hensokyoku" Hideaki NITANI appeared only in a picture and reading a line.
Japanese: 『変奏曲』では二谷英明がスチル写真（止め画）とセリフのみで出演した。
English: In addition, in "Gaito" which Nakahira directed, he made a cameo of himself as a salesman of box meals at station and in "Comedy Oburoshiki" as a guest on a ship.
Japanese: また、自身の監督作品である『街燈』では駅弁の販売員の役で、『喜劇大風呂敷』では船上の客として中平自身が出演している。