History Of Postwar Japan As Told By A Bar Hostess 　　105min

History Of Postwar Japan As Told By A Bar Hostess 　　105min

2018年的“东京彩虹骄傲”活动，有创纪录的15万人到场，众多性少数群体人士参加，相互交流各自对爱的认识。 　　走到今天的路程，一路上撒满了梦想以自己的方式积极生活的当事者们“爱与苦恼”的故事。 　　被社会视为“异常性爱”的60年代，在男同酒吧打工，深受歧视之苦的卡鲁索麻纪； 　　创刊日本第一本商业男同杂志“蔷薇族”的伊藤文学； 　　80年代，打破同性恋杂志的常识，通过崭新的插画，照亮性少数人群心灵的内藤瑠根； 　　还有传播“出柜”这一新概念的传奇式电台主持人大塚隆史，在伴侣因艾滋病去世后，仍坚持发出自己的声音。还有杂志编辑、女装表演者波旁，热切关注着当下新一代的当事者们。 　　本片通过性少数群体当事者们的各色经历，追溯战后LGBT的历史，思考爱究竟是什么。

2018年的“东京彩虹骄傲”活动，有创纪录的15万人到场，众多性少数群体人士参加，相互交流各自对爱的认识。 　　走到今天的路程，一路上撒满了梦想以自己的方式积极生活的当事者们“爱与苦恼”的故事。 　　被社会视为“异常性爱”的60年代，在男同酒吧打工，深受歧视之苦的卡鲁索麻纪； 　　创刊日本第一本商业男同杂志“蔷薇族”的伊藤文学； 　　80年代，打破同性恋杂志的常识，通过崭新的插画，照亮性少数人群心灵的内藤瑠根； 　　还有传播“出柜”这一新概念的传奇式电台主持人大塚隆史，在伴侣因艾滋病去世后，仍坚持发出自己的声音。还有杂志编辑、女装表演者波旁，热切关注着当下新一代的当事者们。 　　本片通过性少数群体当事者们的各色经历，追溯战后LGBT的历史，思考爱究竟是什么。

Director Marita Giovanni's film is based on a play by Lauran Hoffman. Hoffman's material may get tied up in psychobabble but she has an ear for entertaining dialogue and mercilessly avoids the archness usually associated with lesbian drama. Set around an LA Girl bar it focuses on Loretta (Nancy Allison Wolfe), a beautiful red-haired cartoonist, and her romance with actress Rachel (Liza D'Agostino). 　　 　　Wolfe's performance is droll and moving, and she manages to throw off the bad ideas Giovanni and Hoffman aim at her. She also deliberately approximates the glamour of Rita Hayworth from Gilda. Her apartment features the famous poster of Hayworth smoking, as well as a huge closeup of Lotte Lenya's eyes. The character of Rachel is less interesting though D'Agostino holds her own with Wolfe in their fight scenes. I also like Loretta's ditzy friend Veronica (Justine Slater), a straight woman `enchanted' by the idea of a lesbian affair. Those wanting to see a graphic sex scene will not be disappointed but it felt to me Giovanni cut away at a climactic (no pun intended) moment. 　　 　　The awful soundtrack suggests the film's low budget, as does the underpopulated bar, though this underpopulation serves Hoffman's incestuous roundelay theme. Note a cameo by Chastity Bono at Scorpio night.

Director Marita Giovanni's film is based on a play by Lauran Hoffman. Hoffman's material may get tied up in psychobabble but she has an ear for entertaining dialogue and mercilessly avoids the archness usually associated with lesbian drama. Set around an LA Girl bar it focuses on Loretta (Nancy Allison Wolfe), a beautiful red-haired cartoonist, and her romance with actress Rachel (Liza D'Agostino). 　　 　　Wolfe's performance is droll and moving, and she manages to throw off the bad ideas Giovanni and Hoffman aim at her. She also deliberately approximates the glamour of Rita Hayworth from Gilda. Her apartment features the famous poster of Hayworth smoking, as well as a huge closeup of Lotte Lenya's eyes. The character of Rachel is less interesting though D'Agostino holds her own with Wolfe in their fight scenes. I also like Loretta's ditzy friend Veronica (Justine Slater), a straight woman `enchanted' by the idea of a lesbian affair. Those wanting to see a graphic sex scene will not be disappointed but it felt to me Giovanni cut away at a climactic (no pun intended) moment. 　　 　　The awful soundtrack suggests the film's low budget, as does the underpopulated bar, though this underpopulation serves Hoffman's incestuous roundelay theme. Note a cameo by Chastity Bono at Scorpio night.

故事开始于明治末年，竹井千代（杉咲花 饰）出生于大阪南河内一个贫穷的家庭之中。九岁那一年，千代在道顿堀的演艺茶屋当女侍，第一次，她目睹到了华丽的演艺世界，从此，千代立志要成为女演员。 　　为了实现梦想，千代只身一人来到京都的电影制片厂工作，参加了刚刚成立的“鹤龟家庭剧团”。在那里，千代邂逅了名叫天海一平（成田凌 饰）的喜剧界当红演员，两人之间碰撞出了爱情的火花，携手步入了婚姻的殿堂。就在千代的喜剧演员事业逐渐走上正轨之际，战争爆发了，道顿堀遭到空袭。战后，剧团以“鹤龟新喜剧”之名重建，可与此同时，千代和一平之间的感情却出现了裂痕。

故事开始于明治末年，竹井千代（杉咲花 饰）出生于大阪南河内一个贫穷的家庭之中。九岁那一年，千代在道顿堀的演艺茶屋当女侍，第一次，她目睹到了华丽的演艺世界，从此，千代立志要成为女演员。 　　为了实现梦想，千代只身一人来到京都的电影制片厂工作，参加了刚刚成立的“鹤龟家庭剧团”。在那里，千代邂逅了名叫天海一平（成田凌 饰）的喜剧界当红演员，两人之间碰撞出了爱情的火花，携手步入了婚姻的殿堂。就在千代的喜剧演员事业逐渐走上正轨之际，战争爆发了，道顿堀遭到空袭。战后，剧团以“鹤龟新喜剧”之名重建，可与此同时，千代和一平之间的感情却出现了裂痕。

二战后，作为战败国的日本一夜沦为了四流国家，同盟国对其施行的惩罚性政策更是让日本的经济大受打击。就在所有人都以为日本无法再站起来时，一位经济学家的理论让日本经济在六十年代后有了飞速发展。仅用二十年就跃为世界第二大经济体的日本在八十年代时出现了与之前完全不同的景象，股价房价飞涨，大众一度追求奢靡生活…… 直到有一天泡沫突然破灭，日本经济一下陷入了低迷期。日本是如何在废墟中崛起的，又为何会出现泡沫经济，日本又将如何走出失去的二十年呢？这些问题都将在纪录片中得到答案。