早池峰之赋

日本北部的早池峰山傳說為神仙棲息之所，山腳下的村民仍保留傳自山中修行者的神樂。岳神樂舞蹈威武活潑，大償神樂則緩慢纖細，兩者統稱早池峰神樂，為日本「重要無形民俗文化財產」。羽田澄子的名作不是純然的舞樂紀錄，她考察了早池峰山地區的歷史地理，了解當地人的信仰習俗和生活現狀，使神樂存在的人文和自然環境以其真實豐厚的面貌展現。片長三個小時，土地的變遷、神樂的意趣、傳承及農人的日常作息，一起於溫暖和舒暢的氛圍中並行、融和，除見羽田澄子尊敬的態度和坦誠穩健的風格，日本藝人誠心正意地表演，日本人聚精會神地欣賞其傳統文化，更使觀者產生欽羨和見賢思齊之感。（日本電影大師巡禮：向川喜多夫人致敬）http://www.lcsd.gov.hk/CE/CulturalService/filmprog/chinese/2009wmk/2009wmk_film12.htmlIwate Prefecture, Ohasamacho. In the foothills of Mt. Hayachine, the kagura (devotional dance) offered to the mountain goddess by the mountain priests is still performed today nearly unchanged from mediaeval times. This dance, which has been handed down along several lines of succession in the villages of Take and Otsugunai, has its origins in prayer. Take's kagura and Otsugunai's kagura are said to be closely related. The film shows the people who lovingly continue to perform these two types of dance and the transition from ancient tradition to modern life. Even from the first moment that director Haneda was charmed by Hayachine's kagura, the mountain villages that were home to the gods had already begun to disappear. However, Haneda matches changes in the film's style to changes which took place over the years and months before she began filming. From images of a traditional style house being torn down in one spring to the next year's thaw, she paints a portrait not of an as yet undiscovered pocket of tradition, but of the people who coexist with the traditional and the modern.http://www.yidff.jp/97/cat091/97c097-1.html