２０２４年師走は女性が活躍する映画で始まった。映画館の看板には女性が中心に座るポスターが並んでいた。鑑賞していて疲れないのはどれかを選択肢『モアナと伝説の海２』を選んだ。
ウォルト・ディズニーは（１９０１年１２月５日～１９６６年１２月１５）アメリカ合衆国のシカゴで生まれたアニメーション作家で、日本で彼の影響を受けた者で最も著名な作家は手塚治虫だ。親子ほど年下の手塚治虫（１９２８年１１月３日～１９８９年２月９日）。手塚による数々のアニメーション作品は老若男女を問わずファンが多い。歌あり踊りあり、軽快な動きのある多数の作品は時を越えて世界をつないでいる。また哲学的主題をテーマに描かれる作品もあり読者層は広く、我が家の漫画庫にも多数保管している。
アニメーションでは２０２４年末に亡くなった詩人谷川俊太郎作詞による、『鉄腕アトム』の歌と作品を知らない者はいないだろう。原子力の平和利用を謳いあげた代表的な一作品で、196３年・TV上映されTV普及とともに視聴率を稼ぎだしたことで、アニメ文化は強く強く日本に根付いた。（海外輸出できる日本製アニメはどれほどあるのか佐藤は知らない。）
The Master's Day of 2024 began with a movie in which women played an active role. Movie theater billboards were lined with posters of women sitting in the center. I chose the option “Moana and the Legend of the Sea 2” to see which one I would not get tired of watching.
Walt Disney (December 5, 1901 - December 15, 1966) was an animator born in Chicago, U.S.A. The most prominent of his influences in Japan is Osamu Tezuka. Osamu Tezuka (November 3, 1928-February 9, 1989) is younger than his parents. Tezuka's numerous animated works have attracted fans young and old, male and female. His numerous animated works, which include singing, dancing, and light movements, connect the world beyond the boundaries of time. Some of his works are based on philosophical themes and have a wide readership, and we have many of them in our cartoon library.
Among animated cartoons, there is no one who does not know the song “Astro Boy” written by the poet Shuntaro Tanikawa, who passed away at the end of 2024, and his works. It is one of the representative works that advocated the peaceful use of nuclear energy. (Sato does not know how many Japanese animated films can be exported overseas.)
ディズニー制作アニメ映画を鑑賞したことはなかったが気軽に映画館の椅子に座った。が、途端に物語のスピートに追いつけず、目まいしそうになった。確かに実写映画とは異なり、アニメはキャラを自在に、超スピードで動かすのは得意技だ。トムとジェリーの動きを持ち出すまでもなく、これがアニメの売りなのだが、年老いた佐藤はついていけるのか？不安になっていた。
昔の手塚アニメは、１週間で１作品上映するため、さらに制作費と手間をおさえるべく、口パクアニメを発明した。口パクだけパクパクし続けるのだが、声優の技術によって、子供たちはアニメの人物に感情移入、スムーズにおこなえた。
モアナ・アニメは動きが微細で豊。実の人間より顔の表情をデフォルメし細かく描かれていて、口パク・アニメとは比較にならない多情報量なのだった。これでは老人が観るには疲れるよ、とときどき飛ばしながら粗筋だけでも記憶しておこう、と思って見始めた。余韻が吹き飛ばされていて、感覚だけです、その超スピードに浸り観るという技をもたない者には嫌われるかもしれない。視聴覚も衰えた者を客としてカウントしようとしてないのかもしれない。
谷川俊太郎作詞 鉄腕アトム主題歌
I had never seen a Disney-produced animated film before, but I casually sat down in a movie theater chair. However, I immediately felt dizzy because I could not keep up with the speed of the story. It is true that unlike live-action films, animation is good at moving characters freely and at super speed. This is one of the selling points of animation, not to mention the movements of Tom and Jerry, but I wondered if old Sato would be able to keep up. I was getting worried. In the old days, Tezuka invented mouth-packing animation in order to show one film a week and further reduce production costs and time and effort. The children were able to smoothly follow the animated characters thanks to the skill of the voice actors, who were able to empathize with the characters.
Moana animation is rich in minute movements. The facial expressions were more deformed and detailed than those of real humans, and the amount of information was incomparably greater than that of mouth-slapping animated cartoons. I began to watch the film thinking that it would be too tiring for an old man to watch, and skipping over it from time to time to try to memorize at least the rough outline of the story. The aftermath of the film had been blown away, and those who do not have the skill to immerse themselves in the super speed of the film and watch it only with their senses may not like it. It may be that those who do not have the skill to immerse themselves in the super speed of the film and watch it may not be counted as customers.
■物語のあらましと演じられる舞台
物語の始まりは、浅黒い少女の足元に美しい波がおだやかに打ち返す浜辺から始まる。この穏やかな浜辺は、─理由は明かされないが─呪いが掛かっているので近隣諸島の人々との交流が途絶え孤立して久しいと、島の長から明かされる。日本列島で見るオリオン星とは逆の姿で少女の指先に現れるので、南西の島であることは分かる。それ以外、島を知る手がかりはない。時々現れるヤシの葉葺きの家屋の屋根は急こう配で、壁がなくあずまやふうである。素肌をあらわにしている島民が主なので、常夏の島の物語だと分かる。
主に演じられる舞台は大海と船上、加えて呪いの内部そのものと故郷の島、その４領域だ。戻るべき故郷は小島のようで大きさはタヒチ島より小さいようだ。出舟の見送りの人々を観ると島民は８０人弱のようだ。この地域の人々はいにしえから呪縛されている呪いを解き放ち、人々が行き交う、盛んな本来の島の姿を取り戻したいと願っている。そのことを実現するために大海に躍りでる冒険譚。
舟は原型が右に貼ったような二艘を一体化し、船室を持つ帆船だった。色彩は青い海原に響き合うように茶色やあずき色を基調にし制作されていた。人間には不可欠の食物のことだが、食べ物を共食するシーンは分かれの盃を交わす、ココナツ酒をくみかわすだけだったので、主食が何かは仕舞になっても分からないままだった。
飯は食わねど物語は動き続ける。登場人物たちは、何も食わないけどすこぶる元気なのだ。
人間なら喰う、寝るから始まるのだが、この物語に現れる者は食せずとも丸丸ぷよぷよしている。きっと魚系の油をふんだんに食しているのだろうと、想像した。いくらアニメとはいえ、共食の姿を美しく描いてほしい。
タヒチ島webより
アニメに登場するオリオン星座
北半球とは逆配置
The story and the stage where it will be performed.
The story begins on a beach with beautiful waves gently lapping at the feet of a dark-skinned girl. The chief of the island reveals that this peaceful beach has long been isolated from the people of the neighboring islands because of a curse. We know that the island is in the southwest because the star Orion appears at the girl's fingertips in the opposite form of the star we see in the Japanese archipelago. Other than that, there are no other clues to the island. The roofs of the palm-thatched houses that sometimes appear on the island are steeply pitched and have no walls. The islanders' bare skin is the main feature of the story, which tells us that it is an everlasting summer island story.
The main stages are the ocean and the ship, plus the inside of the curse itself and the home island, the four main areas. The home island to return to seems to be a small island, smaller than the island of Tahiti. The number of islanders is less than 80, judging from the people who saw off the departing boat. The people of this region hope to break the curse that has held them captive since ancient times and restore the island to its original state, where people come and go and thrive. This is a tale of adventure as they leap into the ocean to make that happen.
The prototype of the boat was a sailing boat with cabins, consisting of two boats, as shown in the photo on the right. The color scheme was based on browns and maroon to match the blue ocean.
The only scenes of food sharing were the sharing of parting cups and coconut wine, so it remained unclear what the staple food was at the end of the day.
The story keeps moving even though they don't eat. The characters are in high spirits even though they have not eaten anything. Human beings start by eating and sleeping, but the characters in this story are plump and round even without eating. I imagined that they must be eating plenty of fish oil. No matter how animated the cartoon is, I would like to see a beautiful depiction of cannibalism.
１００年以上の時の差はあるが、モアナの制作者とフランス人画家ポール・ゴーギャン。彼らが南半球の大海原にある小島をめざし舞台として描いたのはなぜだろうか。
ゴーギャン（１８４８・６・７～１９０３・５・８）はポスト印象派の画家で、生きた時は第一次世界大戦前、貴族社会から民衆への権力移行期にあらわれた画家だ。１８９７年タヒチで制作した『我々はどこから来たのか我々は何者か我々はどこへ行くのか D’ou venons-nous ? Que sommes-nous ? Ou allons-nous ?』というタイトルの絵は注目されている。彼は根源的な問いを描こうとしたようで、画面に三つの問いを右から順に素直に描いている。
人間の誕生（赤ん坊）～島での人々の生活～老人（死）を、私には押さえた色調に見える、フォルムは具体的な人や動物を描いている。犬、猫、オシドリのような鳥 カワセミのような白い野鳥。地球上の楽園の生死を描いたのだと思うが、仏教でいう輪廻転生図にも似ているかもしれない。男性は立ち上がり果物を採取し、子供に与えコミュニティを維持するが、やがて若い女性の肉体の隣で年老いた老男になる、その老人はゴーギャンその人に思えるので、共感を得やすいだろう。フランス領の地上に楽園をみようとしたのは産業革命以降にあっては、西欧男性の一種の退廃、あるいは現実からの逃避とも受け止めることは可能だ。
２０２４年・現在、IT革命が加速的に進み社会構造の激変、（貧富の拡大と職業の消滅）と、グローバル経済による権威主義政治の台頭によって人々の分断と対立は露わだ。さらにアメリカ一強が崩れだし、不安定な地上の様が明らかにされつつある。先進国とグローバルサウスといわれる発展途上地域の利害の対立の溝は埋まらず、共存を成し安定した社会が訪れるとは想像しにくい。さらに一瞬に世相が流動化し、そのままSNSで可視化・共有可能な世になった。人々は「嘘でも平安な世があると信じたい、」その心境は理解できる。だが嘘で事実は改変できない。
このようような世にあって、情報を遮断し逼塞し平安な日常を手に入れたい、と思い込むのが人情だろうか。過度の成果主義と経済競争社会の呪縛から解き放たれ、平安な楽園に暮らしたいものだ！と夢想するのだろうか。現代人の呪いは、働いても働いても我が暮らし楽にならざり、ITが更新され続け仕事ばかり増える、家の中まで、布団のなかにも仕事は追いかけてくる。IT社会・・いい加減にしてよ、もう～。労働の手かせ足かせの鎖から解放されたい、楽園に行って暮らしたい！
そんな今を生きる人の深層にモアナは絵ずらと共に応え、彼らを一時でも解放してくれる作品だと思った。（この点を強く言えば、ディズニーは商売じょうず）
■映画の中の呪いは呪いか
モアナの暮らす島楽園にも伝説的呪いが掛けられて数千年のようだ。その呪いから島の人々を解放すること、それがモアナのミッションのようだ。予告頁には、「かつて人々は海でつながっていたが、人間を憎む神によって引き裂かれた。海の果てにある島に辿り着けば呪いは解け、世界は再びひとつになる」と表明されている。呪いの解き方の一例を示す映画のようだ。師走の地上にディズニーが贈る妙手はいかに、その手の内を公開する。
果たしてモアナの行動はどのようなものか、超スピードで展開するストーリーに目を回しながら追い、疑問に思うことが多かったので、次にその点をあらわしてみたい。
■Is there an island where it was set?
Although there is a time gap of more than 100 years, the creator of Moana and the French painter Paul Gauguin. Why did they aim for a small island in the southern hemisphere's great ocean and paint it as a stage?
Gauguin (June 7, 1848 - May 8, 1903) was a Post-Impressionist painter who lived before World War I, during the transition of power from the aristocracy to the people. ou venons-nous ? Que sommes-nous ? Ou allons-nous ? is a remarkable painting. He seems to have been trying to depict fundamental questions, and he has painted three questions on the screen in order from right to left in a straightforward manner.
Human birth (baby) - people's life on the island - old age (death), the colors seem to me to be subdued, the forms depict concrete people and animals. Dogs, cats, birds like mandarin ducks White wild birds like kingfishers. I think it depicts life and death in paradise on earth, but it may also resemble the Buddhist picture of reincarnation. The man rises up and gathers fruits and gives them to his children to sustain the community, but eventually he becomes an old man next to the body of a young woman, and the old man seems to be Gauguin himself, so it would be easy to sympathize with him. It is possible to see this attempt to create a paradise on French soil as a kind of decadence or escape from reality for Western men in the post-industrial era.
In 2024, the IT revolution is accelerating and the social structure is drastically changing (the expansion of wealth and the disappearance of occupations), and the rise of authoritarian politics in the global economy has exposed the division and conflict among people. In addition, the U.S. monopoly is collapsing, and the unstable situation on the ground is becoming clear. The gulf between the interests of the developed countries and those of the developing regions of the Global South remains unresolved, and it is difficult to imagine a stable society in which they can coexist. Furthermore, we live in a world where the world is in flux in an instant and can be visualized and shared directly on social networking services. It is understandable that people would like to believe that there is a peaceful world, even if it is a lie. However, lies cannot change the facts.
In such a world, is it not human nature to want to shut out information, to tighten up, and to have a peaceful life? Do we want to live in a peaceful paradise, free from the spell of excessive performance-based and economically competitive society? We would like to be free from the curse of excessive performance-based and economically competitive society and live in a peaceful paradise! The curse of the modern man is that his life is not getting any easier no matter how much he works, and that work is constantly increasing as IT continues to be updated, and work follows him into his home and even under the covers. I want to be free from the shackles of labor, I want to go and live in paradise! I thought Moana was a work that responded to the depths of people living today with Ezura and liberated them, even if only for a moment. (To put this point strongly, Disney is good at business.)
■ Is the curse in the movie a curse? It seems thousands of years have passed since a legendary curse was placed on the island paradise where Moana lives. It seems that Moana's mission is to free the people of the island from that curse. The trailer page says, “People were once connected by the sea, but were torn apart by a god who hates humans. If we reach the island at the end of the sea, the curse will be lifted and the world will be united again. The film seems to show an example of how the curse can be lifted. The film reveals how Disney's strange move presents itself on the earth in the midst of the Master's Day. As I followed the story, which unfolded at super-speed, I had many questions about what Moana's actions would be, and I would like to express them below.
タヒチ島に関わらず、太平洋南半球にある島々は、帝国主義の時代には植民地として西欧列強に統治され、核実験場にされるなど、近代の呪いにつつまれている。さらに貨幣経済社会にのみ込まれたのち、独立運動が起きるのだが、独立しても本来の地上の楽園は戻らない、と想像できる。資本主義下に組み込まれるとその呪いからも解放されえない、仮の常夏の楽園となるのだろう。独立を獲得したあともグローバル経済の呪いは溶けない、世界資本主義経済からは脱出できないだろう。そのためには永遠に待つしかないように思うし不可能だとも思う。
そういう現実の社会があることで、アニメの意義は浮かび現世で二度イキイキするわけだ。極楽のような社会があったならば─地上には永遠極楽はない─と、思いモアナを鑑賞する人はいるのだろうか。布団の中まで仕事に追われし者は、楽園を獲得するために楽園探しに奔走する映画を観ることで、一時の平安を得るのかもしれない。人は一瞬でも夢を見たいのが人情だろう。
冒頭にも書いたがモアナが育った島には、呪いによって交流を閉ざされた、不沈島だ。モアナは巨大な箒星に誘導され、オリオンを羅針盤として不沈島を離れ、海の果てと伝わる、ダークサイトの島をめざす。映画でどちらも巨大な男・女１名で、２人しか住んでいない。魔力をもってあらゆる者を撃退してしまうということだろう。数千年の間、孤立しっぱなしの方々であった。
モアナの育った島の対極に絵かがれる呪いを掛ける者が暮らすダークサイトの島は、海の巨大な女性器、浮遊し続ける根無し草のような形状を模したのだろうか。呪いを解くための参集した島民一行は、そのダークサイト島の入り口から奥へと一気に飲み込まれる。とどんどん時間は遡上するかのように渦巻く。到達する最果ての神殿は子宮のようなもので、ダークサイトの魔王が暮らす、一人勝ちし、他島に呪いをかけることが生きがいとなり、数千年生き続ける孤独の魔王が住む宮殿だった。貧富をわかりやすく示すため人々の集いと、孤立する魔宮殿として示していたのだろう。
ダークサイトへ至る物語は映画の肝の部分なので省略する
The Mother Ship that Replaces the Unsinkable Islands
Regardless of Tahiti, islands in the southern hemisphere of the Pacific Ocean have been under the curse of modernity, having been ruled as colonies by Western powers during the imperialist era and used as sites for nuclear testing. After being further subjugated to a monetary economy and society, independence movements took place, but one can imagine that the original paradise on earth would not return even if they became independent. It will be a temporary, everlasting summer paradise that cannot be freed from the curse of being incorporated under capitalism. Even after gaining independence, the curse of the global economy will not dissolve, and we will not be able to escape from the world capitalist economy. It seems to me that we will have to wait forever for that to happen, and I don't think it's possible.
The existence of such a real society makes the significance of the cartoon come to life and make us twice as happy in this life. I wonder if there are people who watch Moana thinking that if there was a society like paradise, there would be no eternal paradise on earth. Those who are busy working all the way to the futon may find temporary peace by watching a movie in which they struggle to find paradise in order to win it. It is human nature for people to want to dream, even if only for a moment.
As mentioned in the introduction, Moana grew up on an unsinkable island that was closed to communication by a curse. Guided by a giant broom star, Moana leaves the unsinkable island, using Orion as her compass, for the island of Dark Sight, which is said to be the end of the sea. Both in the movie are inhabited by only two people, a giant man and a woman. It is said that they repel all kinds of people with their magical powers. These people have been isolated for thousands of years.
The island of Dark Sight, where the curse-maker lives, is pictured as the opposite of the island where Moana grew up, perhaps modeled after the giant female organ of the sea, a floating rootless plant. The islanders who have gathered to lift the curse are swallowed up from the entrance of the dark site island to the depths of the island. The islanders who had gathered to lift the curse were swallowed up from the entrance of the island and swallowed deep inside. The temple at the end of the island is like a womb, a palace where the Dark Sight Demon King lives, a solitary demon king who lives for thousands of years, living alone and making it his life's purpose to cast curses on other islands. It may have been shown as a gathering of people and an isolated demon palace to show wealth and poverty in a simple way.
The story leading up to the dark site is the heart of the film, so I will omit it.
■ハッピーエンドはハッピーエンドなのか
モアナと仲間たちの活躍と奇跡がおきて、島の呪いは解け、周囲の島々との交流が一斉に起き、映画はお仕舞となるが、腑に落ちない。
他島の人々との交流がなぜハッピーなのか。現在起きている世界の大きな島・大陸と大陸の間に起きる交流によって起きる争いを観ると、人が集うことは争いの始まりで、これが現実だろう。だから現世には交流が始まってもハッピーエンドはない。常に争いと緊張のなかで人々の暮らしを継続され、世界が変容していく。これが事実で、アニメの中だけでもハピーにありたい、とする、その点に老人の佐藤は心や政策態度の足腰の弱さを感じてしまうのであった。（観客をあまく見ているのかもしれない）
さて、ではどう描けば本当の幸いある島になるのだろう、それを推測してみたい。
■ Is a happy ending a happy ending?
The film ends with Moana and her friends' successes and miracles, the island's curse is lifted, and interactions with the surrounding islands occur all at once, but it doesn't add up.
Why is it happy to interact with people from other islands? If we look at the conflicts that occur due to the exchanges that occur between the world's large islands and continents that are happening today, the gathering of people is the beginning of conflict, and this would be the reality. Therefore, there is no happy ending in this world when exchanges begin. People's lives are continued amidst constant strife and tension, and the world is transformed. This is the fact, and the old man, Sato, wanted to be a hapy, even if only in an animated cartoon, and in this respect, he felt that his heart and policy attitude were weak-legged. (He may be looking at his audience in an unfair way.)
Now, then, how to depict it as a real fortunate island, I would like to guess.
感想が長くなってしまうので箇条書きにする。
まずは参集した島々の者たちが語り合う場造りから始まると思う、その場ではどんな事が議題になるだろうか。
①協力しあって呪いの本質を断つ
呪いの本質が何かは語られていないので類推するしかないが、島の人々の暮らしが平安で豊であることにダークサイトの一人住人は嫉妬している。そう解釈してダークサイトの２名も仲間にとりこみ、懐柔する。そして孤独の宮殿で数千年生きることの虚しさを感じたならば、その時こそ彼らを人らしく葬ってやる。（島葬とする）
②放置して静かに生きる
呪いの島の２名のことは忘れて、島々の人々と争いながら、争いのなかから豊さの芽吹きをみつけ、育てることを生きがいに生きつづける。
③自分の欲望を最大化するために活動する
島々の人々の欲望がなにかは語られていないのだが、南国の楽園で狩猟採取民として活動を継続し平安に生きるなら、その前に、他島の人々の暮らしを荒らさず、植民地化の防御方法を─呪いは解けたのだから─ダークサイトの２名から教示してもらう。そのことで呪いを他島に向けさせる。
④自由で開かれた正悪共存
考え方を共有し他島と交流しても傷つけ合うことのないよう、まずは島々間で協定し、次に実践し観察し、争いをなるべく少ない世をつくる法整備と、統治機構を初めにつくる。そして暮らしながら意見（欲望）の違いを整理調整し、妥協し合う関係をつくる。
⑤格差解消
島々の人と交流することで格差が可視化され自覚されると推測するのだが、その調査を行い、格差をなくすための話合いをおこなってから、交流することにする。まずは徐々に徐々に他島と交流を始めることにしてもらい散会する。
⑥文学作品の中にある、スティーブンキング地霊の呪いなどを研究しあうことで、困難を乗り越える学習を互い共有するにすることから、始める。
など他にもいろいろ思いつくが、きりがないので、この辺りでとめ、モアナの感想はお仕舞とする。
２０２４年１２月１６日 佐藤敏宏
■What kind of ending would you like?
My impressions are long, so I will list them in bullet points. I think the first step is to create a place where the people of the islands who have gathered can talk to each other.
(1) cooperate with each other to break the essence of the curse. Since the nature of the curse is not mentioned, we can only make an analogy, but the lone inhabitant of the dark site is jealous of the peaceful and prosperous life of the people on the island. He interprets it as such and takes two of the Dark Site residents into his circle of friends, and he becomes nostalgic. And when they feel the emptiness of living thousands of years in a palace of solitude, that is when we will bury them like human beings. (This will be an island burial.)
(2) Leave them to live in peace and quiet. (2) Leave them to live quietly. Forget about the two people on the cursed island, and continue to live with the purpose of finding and nurturing the seeds of abundance in the midst of conflict, while fighting with the people of the islands.
(3) Work to maximize your own desires. We are not told what the desires of the islanders are, but if they are to continue their activities as hunters and gatherers in a tropical paradise and live in peace, they must first learn how to defend themselves against colonization without destroying the lives of the other islanders - since the curse has been lifted - from the two DarkSight members. By doing so, the curse will be turned against the other islands.
(4) Free and open coexistence of right and wrong. In order to share ideas and avoid harming each other when interacting with other islands, we will first make an agreement between islands, then practice and observe, and establish laws and a governing structure to create a world with as little conflict as possible. Then, while living on the islands, we will sort out and adjust differences in opinions (desires) and create a relationship of mutual compromise.
(5) Eliminate disparities We assume that by interacting with the people of the islands, the disparity will be visualized and recognized. We will conduct a survey and discuss how to eliminate the disparity before interacting with the people of the islands. After conducting the survey and discussing how to eliminate the disparities, we will then exchange with the other islands. (6) We could start by studying each other's works of literature, such as the Curse of Stephen King's Earth Spirit, and share with each other learning to overcome difficulties. I can think of many more, but there is no end to them, so I will stop here and conclude my thoughts on Moana.
December 16, 2024 Toshihiro Sato
