地下幻灯剧画 少女椿

 貌似刚开始是为了google神样的相关资料最后搜到了这个动画，56分钟的片子，天井桟敷解体后由J.A.Seazer接手的演剧实验室万有引力还有月蚀歌剧团都在里面，月蚀歌剧团也合作过寺山修司的作品，这一代人几乎都离不开寺山修司的说，三上宽那嘶哑的嗓音在呻吟，好讨厌==这里依旧是神样负责音乐，但实话说，效果并不是太好（黑线），果然寺山殿去世的打击，神样几年也没缓过来，失去了基友，消瘦的不成人形（大误）。

这个动画也没有宣传介绍的那么猛，一点也不重口（失望），动画制作也是要多简陋有多简陋=L=但多亏了这个噱头下载速度奇快。片子超现实，但跟重口的标准还有一大节距离，估计踩到标准后片子也就只能地下流通了。苦命少女追求幸福却屡遭失败，常见的故事用奇幻暴力情色的方式表现出来，在孩子面前赤裸裸的放着A片，大概就是这种调子吧。

做成动画后一点也燃不起来，传统幻灯剧模式虽然很有爱，但这里各种粗糙，漫画反而更带感，动画化后一点也不猎奇太打击人了，而且很简陋，完全比不上原画，虽然有神样的音乐，但不够味啦。音乐也像是从神样的工作室里随手捡来的糟糕货不良品，果然没了寺山乃就不行了吗0A0（严重大误）

作品原画是丸尾末广，他的漫画本身倒是十分重口，估计写介绍的那位亲知道丸尾末广立马就做出了判断，不过这个判断不太适用在动画上就是了，漫画的尺度要宽得多，画风也更能表现出丸尾的特色。

丸尾末广经历坎坷，画工超棒，喜好和风，尽管是血肉横飞的混乱场面，但笔锋干净，劲道十足，底下层赤裸裸的暴力、性、SM、不堪通通表现了出来，不看则罢，一看就停不下来，把人类最真实的一面解剖展示，极端但尖锐，虽然有些地方是既恶心又变态，秽物部分我无法接受，但暴力美学爱好者们都会成为他的脑残粉。老外特好这一口，许多作品早已有各国译本了=L=

复习了漫画后发现《少女椿》集中了丸尾的N多招牌模式，像舔眼珠、侏儒、畸形人、妖怪、马戏团等等，我更喜欢丸尾的插画，以妖怪为题的，以日本传说为题的，百看不厌，除了秽物，其他都很棒=w=现在想来，寺山修司的某些宣传画可能也是出自丸尾之手，感觉太像了，待考证吧。

另外，丸尾为纽约前卫犹太音乐家John Zorn 1990年著名专辑《Naked City》所绘的内页（好赞！！），而以日本古代著名的无惨绘作品《英名二十八众句》为蓝本创作的《新英名二十八众句》，更是屡获我的心，这画册已经绝版，现在只能在网上看看了（哭）。


片名：地下幻灯剧画－少女椿
导演: 絵津久秋
编剧: 原田浩
原作：丸尾末广
类型: 动画 / 剧情 / 恐怖 /
制片国家/地区: 日本
语言: 日语
上映日期: 1992
片长: 56 分钟

丸尾作品 　　

单行本目录∶

《蔷薇色的怪物》 青林堂 1982.7.25 　　
《梦的Q-SAKU》 青林堂 1982.12.25 　　
《丸尾地狱》 (限定发行一千本) 青林堂 1988.8 　　
《DDT》 青林堂 1983.11.25 　　
《少女唾沫》 青林堂 1984.9.25 　　
《KINRANDONSU》 青林堂 1985.9.1 　　
《国立少年》 青林堂 1989.8.1 　　
《丸尾末广.ONLY YOU》 东京成人俱乐部 1985.12.25 　　
《臆想狂明星》 河出书房 1986.1.31 　
《残酷大全之堕胎》 　

动画作品：

《少女椿》

记于2012-04-05 17:26

         世间最可怕的大概就是从噩梦中醒来时，却发觉现实更是一场噩梦。
     尾丸末广的这部怪异之作风格上有点类似于大卫林奇的那部备受争议的《双峰之与火同行》，满篇皆充斥着种种的怪异荒诞的虚幻想象，但不同的是《少女桩》保留了日本浮世绘的表现方式，以旧式广告画为基调，充分的展现了日本人所特有的种种低级趣味，因此显得更为怪诞，荒谬。但此种怪诞绝又不是作者一厢情愿的想象或是其特有的特殊嗜好，它却是来源于我们共有的突发的幻想或是意识深处完全偏离正常世界的原始冲动。作者只是在这个看似光鲜的的世界里描绘出其阴影下的那些永无尽头的黑暗........

An old friend of mine and an avid collector of 16 and 35mm film prints follows a very strict regime when watching movies: "The celluloid must run through a projector in a theater with a big screen and a crowd, the way those movies were meant to be seen. Watching video copies of them on a couch at home doesn't count. It doesn't provide the true experience of the work in question. You can't say that you have seen a film if you've just watched a video of it."

This is fair enough for most films. But Hiroshi Harada, the director of Shojo Tsubaki (let's stay with the original title for the time being) sets the bar much, much higher. He doesn't even allow his film to be shown in movie theaters in Japan, yet alone let them be consumed on video or DVD.

For his screenings, he created incredibly elaborate "freak show" events which encompass live theater, live music, acrobatic acts, wild stage settings, freaky characters let loose on the audience... and a lot of secrecy. His flyers announcing shows and even those looking for performers were deliberately confusing - nobody was supposed to know what was really going on. In the early years, which means the early 1990s after the film's premiere in 1992, he wouldn't even want anyone to know what kind of show Shojo Tsubaki was at all: a movie, an anime, live theater?

"It would have been not interesting if I had given all that info in advance." Harada wrote me in a recent e-mail. "I wanted surprise. The audience suddenly encountering something totally unexpected - that was the point."

Now, what is Shojo Tsubaki? Well, it's animated, it's on celluloid, it is about a poor young girl who lives a hard life in a freak show circus, and its scenes often switch from being extremely kawaii to extremely graphic, violent, and at times oozing into the territory of far-out sexual fetishism. Sex among disfigured freaks, eye-ball-licking, rape by a disgusting, diseased... it's all there. And yet, Midori, the main character, does find true love here... and then things turn violent again... You never know where the movie is heading. You can't even guess what dangers or pleasures might be coming Midori's way from one second to the next.

Shojo Tsubaki is set in the early years of the Showa emperor's reign, the late 1920s in the Western calender. The original inspiration for the film dates from around the same time: a kami shibai performance going under the same title. Kami shibai translates to 'paper play' or 'picture show' and it dates back to the middle ages. A storyteller would tell a fantastical story in busy market places or wherever else he could find an audience, illustrating his story with a series of drawings. Often, his story was written on the back of the cardboards displaying the pictures to make it easier to do the performance and also to enable the storyteller to sell copies of his act afterwards.

Shojo Tsubaki (which literally means Camelia Girl) is said to have been originally created by a legendary kami shibai performer from the 1920s working under the name Seiun. It was a lengthy performance back then, consisting of 21 chapters and lasting for several hours. One of those original sets of pictures still survives and the play actually has been performed at times as part of the Shojo Tsubaki film events.

The paper play tells the story of a poor family whose father went too far into gambling debts. He runs away and lets the others fend for themselves. Midori, his daughter, goes into the business of flower selling. It's a sad job and one day she is kidnapped by two men and sold to a travelling girl's revue theater where she performs under the name Tsubaki Midori.

In the early 1980s, underground manga artist Suehiro Maruo began to turn the old kami shibai into one of his own disturbing picture stories. The earliest evidence I could dig up was in his 1982 book Das Ungetum der Rosenstck in which the beginning of his unique take on the Midori story is shaping up. The title of the book is of course some sort of flawed German. Though his grasp of the language might have been lacking, Maruo was deeply influenced by 1920s German expressionism and his heroes were Nosferatu, Marlene Dietrich and Doctor Caligari. They all figure prominently in the book - and the drawing style is a fascinating mix of Weimar German influences and vintage Japanese. Truly mesmerizing stuff.

In 1984, Maruo eventually had his final book-length manga of Shojo Tsubaki out in the stores. As already outlined in his Shojo Tsubaki chapter of Das Ungetum, the old kami shibai became now something new altogether... a full blown girl-in-the-freakshow story freely mixing cuteness, violence, perversity and a painstaking accuracy in the depiction of 1920s Japan and its outlaw characters to mindblowing impact.

Enter Harada. He was a young overworked pen-and-inker in the animation industry in 1970's Japan and he hated it. He realized that artistic ambition and the need to sustain oneself had always been a great conflict artists had to fight out with themselves ... but the animation industry didn't even give him the freedom to choose one or the other. The boss told the guys on the drawing boards what to do and they just had to hurry on with their mindnumbing work. He wanted out of the system and he did manage eventually to get out. He quit his job and premiered his first independent animated production City Nocturne in 1979. In 1985, he had 2 new animated works ready for release: Eternal Paradise (Kagirinaki Rakuen) and Lullaby to the Big Sleep (Nido to Mezamenu Komori Uta). The latter, shot on Super 8 and 27 minutes long, told of the adventures of a young boy getting sucked into the violent demonstrations held by leftist groups resisting the construction of Narita Airport. It played the Pia Film Festival in Tokyo, the main showcase for young Japanese independent cinema. Jury member and punk / biker movie director Sogo Ishii loved it and thanks to his lobbying, Harada won a major festival award.

Lullaby had already strong Maruo-esque tendencies: an unpredictable, sexually-charged story, experimental techniques and a main character who underwent a wide variety of forms of bizarre abuse. Even the drawing style appears to be heavily inspired by Maruo. So it seems almost logical that Harada choose a real Maruo as his next project: Shojo Tsubaki.

Knowing that this would demand much bigger resources than his previous films, he went back to the studios and tried to find financing. None was to be found at all. The subject matter of Maruo's book simply scared all potential investors away. Undeterred, Harada sacrificed his life savings, even went to money lending outfits to keep going. Maruo himself had told him "to make the film any way he wanted", as Harada told me. They did stay in close contact during the production period, though, with Maruo providing readings of old-fashioned kanji he had used in his book, advising on what colors to use for scenes and otherwise providing a great influx of ideas - some of which Harada then used. Maruo also lent his original source material to Harada, photo books on Tokyo of the period for example.

Harada started the great work in 1987 - and then continued drawing for 5 years, all by himself. Every single image of the movie was drawn by just one man alone! Harada did however receive a great deal of volunteer support from the Tokyo underground scene of the time for the final completion of his work: from musicians who provided the soundtrack, animators, people at independent documentary film studios, theater groups, even S/M clubs.

In 1992, the premiere of Shojo Tsubaki was held as a giant spectacle in a red tent on the grounds of Mitake Jinja, a Tokyo Shinto Shrine. Amidst strange decorations and exhibits, undergound theater group Aka Neko Za (Red Cat Theater) staged acts which are also performed by the freaks in the movie, and smoke was blown into the audience.

Here's what was projected onto the big screen: To a collage of violent freak show images, an announcer screams out what kind of an incredible story the audience is about to witness - in rhyming vintage carney lingo which almost no young Japanese would be able to understand. Then Midori, a poor girl about the age of 12, selling flowers in 1920s Tokyo. One of her regular customers is a strange man she calls "Mister Bowler Hat" due to the hat he wears. One night, she comes back home and finds her mother dead in her bed, rats already feading on her corpse. She runs away... With nowhere to go she turns to "Mr. Bowler Hat", who turns out to be a freak show impressario going under the name of Mr. Arashi. She joins his travelling circus... and right from the beginning becomes the focus of endless abuse by the real freaks, grotesquely disfigured perverts with bizarre fetishes and giant egos to boot. Relief comes in the form of Wonder Masanitsu, a magician who can squeeze his entire body through the tiny opening of a glass bottle. She falls in love with him but Masanitsu has powerful dark sides too...

It's an animation film, for sure, but the animation is extremely limited. In many instances, it's just a series of drawings, held together by music and dialogues... a modern-day kami shibai. Which of course is quite fitting to the origins of the tale and the time it takes place in.

More screenings of the film followed in rapid succession. Harada himself developed a new modus operandus of screening the work which made it even more difficult to access: he handed audience members who had made a reservation a map of a residential neighborhood. The people had to follow cryptic signs like dolls placed on street corners or folks in strange attire standing by the street to evenutally find an unassuming building and enter its basement. There they were handed candles and had to make their way through a dark labyrinth of corridors and rooms before they could enter the actual venue. Couples were separated, smoke was blown in, fans blew paper snippets resembling cherry blossom petals. While the film ran, theater group members threw objects at the audience that were also thrown around on screen...

In 1994, the film had its international premiere at the Orleans Biennale in France. It has since been shown at a number of Western festivals under a variety of titles like The Girl in the Freak Show or Midori - The Girl in the Freak Show, though without any of the trappings that come with the film in Japan. Harada wouldn't have been able to stage anything similar in a foreign country. The Japanese shows were difficult enough to arrange. Still, Midori stood her ground up on the Western screens, despite being all alone with the vicious freaks in the movie and the quiet lurkers in the seats. Poor girl... so many cruel things have been done to her...

That the film is now available on DVD in France under the title Midori with subtitles in 5 European languages for private home viewing might be the worst abuse Midori ever encountered, though. At home in Japan, however, the film can still be seen only on the rare occasions of a real full-blown freak event, the way it was meant to be seen....

  丸尾末广大神的原作漫画改编，以下资料摘自百度百科：

  《地下幻灯剧画——少女椿》作为丸尾末广一部重要的漫画，讲的就是异人世界，大正时代，过着无助生活的纤弱少女阿绿，被异人杂技团收留，杂技团有着行为怪异的团长，大力的巨人，截去双手的木乃伊，阴险怪戾的蛇女、男扮女装的少年，脖子很长的畸形男等，阿绿在团中先后不断被这些奇人异士骚扰强*，就在她最痛苦的时候，团里来了个懂幻术的侏儒西洋魔术师， 他对阿绿的友好令两人相爱，使阿绿在裸露变　态的杂技团找到一丝慰籍。魔术师的加入令本来无人问津的杂技团变的人气旺盛，在团中的地位也巩固起来，当阿绿 以为自己找到真爱的时候，因爱嫉妒的魔术师对团中侵犯过阿绿的成员进行报复……最后，在阿绿与魔术师准备离开杂技团时，魔术师意外被杀死。以为可以摆脱过 往一宜重新开始的阿绿，猛然却发觉一切依然没变，她在天地间呼叫嚎哭，噩梦却旧挥之不去……

导演绘津久秋花了五年时间为其绘制胶片,并与1992年正式完成此怪诞大作，制作完毕的《少女椿》随后 被带到海外参加影展,岂料回国经过日本海关的时候即被查禁。丸尾末广首先于1984年绘成的异人SM凄绝漫画，其原版胶片拷贝悉数被海关没收并销毁,此片 也随即遭到全国禁播。

    对于我这样的初级猎奇爱好者，这段百科介绍已经足够吸引人了，再加上之前《無惨絵·英名二十八衆句》里对丸尾末广就已经产生浓厚兴趣了，之后在贴吧也看了几部他的短篇漫画作品。虽然题材猎奇，但是画风却极为细腻唯美，不像某些为了猎奇而猎奇的漫画一样纯粹满足视觉需求。

    说说主题，天真少女误入魔窟惨遭迫害的故事不知道为什么让我联想到了《三毛流浪记》囧 不过在丸尾末广笔下的这个“旧社会”才是真正的黑暗+重口。阴冷的色调和冷清的场景暂且不说，光是异人杂技团中的各种怪人：蛇女，没手的绷带男，畸形人，变态伪娘等等都足以让人觉得压抑，而那些前来观赏的有如潮涌观众又是否反应了的猎奇取向其实存在于每个人心中？虽说本片有着恐怖、异类、SM、变态、殘暴等等名号，但实际画面对我个人而言还是可以接受的（也许是我口味太重了）绿子和侏儒魔术师相爱的部分可以说是全片最温馨的时刻了。但是悲剧的结局注定绿子最终还是一个人流落在这个残酷的世（di）界（yu）上，连唯一喜欢过的人都无法在一起，哪怕他是一个怪人呢。

  总之，这是一部虐心更胜于猎奇的片子，你甚至可以当做爱情片来看，画质就不要纠结了，模糊残缺的画面才符合这部地下短片的风格不是吗。有人说原作漫画更胜一筹，我特意看完了漫画，动画还是非常良心地还原原作的精髓的，当然不急丸尾原画那么细腻啦。对于猎奇向动画有兴趣的同学还是推荐一试吧。