Tange Sazen

Japanese: 丹下左膳 - たんげさぜん

A one-eyed, one-armed nihilistic swordsman created by Hayashi Fubo. A vassal of the feudal lord of Oshu, Souma Daizennosuke. In "New Edition of Ooka Seidan: Suzuki Genjuro no Maki" (serialized in the Tokyo Nichi Nichi Shimbun from October 1927 to May 1928), Tange Sazen was a supporting character who was given secret orders by his master, a sword enthusiast, and played an active role in the battle for the famous swords Kenun and Konryu. However, due to his strong personality, he gained overwhelming popularity among readers, and in the sequel "Tange Sazen" ("Moss Monkey no Maki" June to November 1933, published in the Osaka Mainichi Shimbun and Tokyo Nichi Nichi Shimbun; "Nikko no Maki" January to September 1934, serialized in the Yomiuri Shimbun), he was promoted to the main character, and became the central character in the battle over the Moss Monkey's teapot, which contained the location of buried treasure. Tange Sazen was made into a film by various film companies as a fictional hero representative of the early Showa period, but the 1933 Nikkatsu film Tange Sazen: Part 1 (directed by Ito Daisuke and starring Okochi Denjiro) is known as the definitive Tange Sazen film.

[Isogai Katsutaro]

movie

Japanese film. Nikkatsu's first all-talkie film, released in 1933 (Showa 8), was adapted and directed by Ito Daisuke from the original story by Hayashi Fubo. The one-eyed, one-armed Tange Sazen (Okochi Denjiro) plays an active role in the fierce battle for the Moss Monkey's Vase, which contains the location of buried treasure. Tange Sazen first appeared on screen in the 1928 three-company film "New Edition of Ooka Seidan," in which Dan Tokumaro (1902-1987) of Toa Kinema, Arashi Kanjuro of Makino Films, and Okochi Denjiro of Nikkatsu each played Sazen. Of these, the Nikkatsu version, directed by Ito Daisuke, cameraman Karasawa Hiromitsu (1900-1980), and starring Okawachi, won immense acclaim for its swordplay that made full use of the finest silent film visual expression and its exclamatory-style subtitles, becoming the definitive version of Tange Sazen, and this talkie version also experimented with audiovisual techniques, such as synchronizing image and sound and using metaphors. Since then, Okawachi's Tange Sazen has been made into a total of 16 versions by Nikkatsu, Toho, Daiei, and others, including Yamanaka Sadao's Tange Sazen Anecdote: The Million Ryo Pot (1935, Nikkatsu), with the line, "Shay is Tange, his name is Shazen." After Okawa, other Tange Sazen actors included Otomo Ryutaro (1912-1985) and Tamba Tetsuro (1922-2006).

[Mika Tomita]

Popular Literature Series 18: Hayashi Fubo and Other Works (1972, Kodansha) ▽ Ito Daisuke, edited by Kato Yasushi, Poetry and Truth of Period Films (1976, Kinema Junposha) ▽ Misono Kyohei, edited by, Okochi Denjiro Art Book (1976, Activity Materials Research Group) ▽ Ito Daisuke, edited by Ito Asako, Ito Daisuke Screenplay Collection I (1985, Tankosha) ▽ Kajita Akira, Okochi Denjiro - The Man, His Works and All About His Charm (1992, Asahi Sonorama) ▽ Saeki Tomonori, edited by, Ito Daisuke - Rebellious Passion, Period Drama Modernism! " (1996, Film Art Co.)" ▽ "Tanaka Teruka, "The Film History of Tange Sazen Told Through Documents - From Okochi Denjiro to Toyokawa Etsushi" (2004, Kawakita Corporation)"

[Reference items] | Daisuke Ito | Denjiro Okochi | Fubo Hayashi | Sadao Yamanaka

Source: Shogakukan Encyclopedia Nipponica About Encyclopedia Nipponica Information | Legend

Japanese:

林不忘(ふぼう)が創造した片眼片腕のニヒル剣士。奥州の大名相馬大膳亮(そうまだいぜんのすけ)の家臣。丹下左膳は、『新版大岡政談・鈴川源十郎の巻』（1927.10～1928.5、『東京日日新聞』連載）では、刀剣マニアの主君の密命を帯び、名刀乾雲(けんうん)・坤竜(こんりゅう)の争奪戦に活躍する脇役(わきやく)的な登場人物であったが、その強烈な個性によって読者の圧倒的な人気を得た結果、続編『丹下左膳』（「こけ猿の巻」1933.6～11、『大阪毎日新聞』『東京日日新聞』。「日光の巻」1934.1～9、『読売新聞』連載）において主人公に昇格し、埋蔵金のありかを秘めたこけ猿の茶壺(ちゃつぼ)をめぐる争いの中心人物となる。丹下左膳は昭和前期を代表する虚構の英雄像として、映画各社によって映画化されたが、1933年（昭和8）の日活映画『丹下左膳・第一篇(ぺん)』（伊藤大輔(だいすけ)監督・大河内伝次郎(おおこうちでんじろう)主演）は、丹下左膳映画の決定版として知られている。

［磯貝勝太郎］

映画

日本映画。1933年（昭和8）、林不忘の原作を伊藤大輔が脚色・監督した、日活の第1回オール・トーキー作品。埋蔵金のありかを秘めたこけ猿の壺をめぐる激しい争奪戦に、隻眼(せきがん)隻手の丹下左膳（大河内伝次郎）が活躍する。丹下左膳は、1928年の三社競作映画『新版大岡政談』でスクリーンに登場し、東亜キネマの団徳麿(だんとくまろ)（1902―1987）、マキノ映画の嵐寛寿郎、日活の大河内伝次郎がそれぞれ左膳を演じた。なかでも伊藤大輔監督、唐澤弘光(からさわひろみつ)（1900―1980）カメラマン、大河内による日活版は、無声映画の映像表現の粋(すい)を駆使した立回りと詠嘆調の字幕で絶大な評価を獲得し、丹下左膳の決定版となり、トーキーの本作では、映像と音の同期や比喩(ひゆ)表現など、視聴覚の実験も試みた。以後、大河内の丹下左膳は「シェイは丹下、名はシャゼン」の台詞(せりふ)とともに、山中貞雄(やまなかさだお)の『丹下左膳余話　百万両の壺』（1935年、日活）をはじめ、日活、東宝、大映など、計16本つくられた。大河内以後は、大友柳太朗(おおともりゅうたろう)（1912―1985）、丹波哲郎(たんばてつろう)（1922―2006）らの丹下左膳がある。

［冨田美香］

『『大衆文学大系18　林不忘他集』（1972・講談社）』▽『伊藤大輔著、加藤泰編『時代劇映画の詩と真実』（1976・キネマ旬報社）』▽『御園京平編『畫譜大河内傳次郎』（1976・活動資料研究会）』▽『伊藤大輔著、伊藤朝子編『伊藤大輔シナリオ集Ⅰ』（1985・淡交社）』▽『梶田章著『大河内伝次郎――人と作品・その魅力のすべて』（1992・朝日ソノラマ）』▽『佐伯知紀編『伊藤大輔――反逆のパッション、時代劇のモダニズム！』（1996・フィルムアート社）』▽『田中照禾著『資料が語る丹下左膳の映画史――大河内伝次郎から豊川悦司まで』（2004・川喜多コーポレーション）』