アメリカ合衆国への類似商品の発送
US
アメリカ合衆国
すべての出品を見る
次に追加されました:

申し訳ありません。問題が発生しました。

ウィッシュリストの取得中にエラーが発生しました。もう一度やり直してください。

申し訳ありません。問題が発生しました。

リストを利用できません。

僕の村は戦場だった Blu-ray

4.6 5つ星のうち4.6 306個の評価
フォーマット モノ, Blu-ray, ブラック&ホワイト
コントリビュータ ニコライ・ブルリャーエフ, ワレンティン・ズブコフ, エフゲニー・ジャリコフ, アンドレイ・タルコフスキー
稼働時間 1 時間 35 分
ディスク枚数 1
メーカー IVC,Ltd.(VC)(D)
Amazon スマイルSALE初売り 開催中
期間限定！人気商品がお買い得。ポイントアップキャンペーン実施中
Amazon スマイルSALE初売り を今すぐチェック

この商品をチェックした人はこんな商品もチェックしています

ページ: 1 / 1 最初に戻るページ: 1 / 1
前のスライドセット
  2. ノスタルジア [Blu-ray]
    オレーグ・ヤンコフスキー
     
    Blu-ray
    -20%￥4,228
    参考: ￥5,280
    42pt (1%)
    送料: ￥2,600
    残り8点 ご注文はお早めに
  3. サクリファイス 4Kレストア 特別盤 Blu-ray
    エルランド・ヨセフソン
     
    Blu-ray
    -21%￥5,936
    参考: ￥7,480
    59pt (1%)
    送料: ￥2,612
    残り7点（入荷予定あり）
次のスライドセット

商品の説明

『惑星ソラリス』『ストーカー』のアンドレイ・タルコフスキー監督による長編第1作!
みずみずしい才能の開花。すさまじいまでの完成度。
待望のBlu-rayがついに発売!

美しく平和な村は戦火に踏みにじられた。愛する母は殺され、少年は怒りに燃えた。
子供のほうが敵の目につきにくい。みずから斥候として敵地に忍び込み、貴重な情報をもたらせた。
それは、あまりにも危険な任務だった…。…。

1962年 ソ連作品

監督:アンドレイ・タルコフスキー
脚本:ウラジーミル・ボゴモーロフ、ミハイル・パパーワ
撮影:ワジーム・ユーソフ
音楽:ヴャチェスラフ・オフチンニコフ
出演:ニコライ・ブルリャーエフ/ワレンティン・ズブコフ/エフゲニー・ジャリコフ

◆封入特典:馬場広信氏(映画学者)による解説文収録リーフレット

登録情報

  • メーカーにより製造中止になりました ‏ : ‎ いいえ
  • 製品サイズ ‏ : ‎ 30 x 10 x 20 cm; 100 g
  • EAN ‏ : ‎ 4933672242446
  • 監督 ‏ : ‎ アンドレイ・タルコフスキー
  • メディア形式 ‏ : ‎ モノ, Blu-ray, ブラック&ホワイト
  • 時間 ‏ : ‎ 1 時間 35 分
  • 発売日 ‏ : ‎ 2013/12/20
  • 出演 ‏ : ‎ ニコライ・ブルリャーエフ, ワレンティン・ズブコフ, エフゲニー・ジャリコフ
  • 字幕: ‏ : ‎ 日本語
  • 販売元 ‏ : ‎ IVC,Ltd.(VC)(D)
  • ASIN ‏ : ‎ B00FLD4HLE
  • ディスク枚数 ‏ : ‎ 1
  • カスタマーレビュー:
    4.6 5つ星のうち4.6 306個の評価

カスタマーレビュー

星5つ中4.6つ
306グローバルレーティング

この商品をレビュー

他のお客様にも意見を伝えましょう
カスタマーレビューを書く

上位レビュー、対象国： 日本

  • 米米米米
    5つ星のうち5.0 バッチリでした！
    2023年7月6日に日本でレビュー済み
    Amazonで購入
    梱包も丁寧でした。ありがとうございました！
    1人のお客様がこれが役に立ったと考えています
    役に立った
     レポート
  • sachi823
    5つ星のうち5.0 黎利
    2016年9月3日に日本でレビュー済み
    Amazonで購入
    劇場のタルコフスキー特集で「鏡」と２本立てでした。
    こちらのほうがずっと わかりやすい。（というか「鏡」がわかりづらい）
    映画的ムードよくストーリーとして破綻無く、登場人物の会話もわかりやすいです。
    ラストの場面などを見ると反戦映画としての趣もありますが、
    やはり目を奪われるのは、少年の内面的な心象風景の美しさで、井戸、果実、海岸､空
    それらが目眩く映し出される映像や その空間処理の見事さに目を奪われます。
    6人のお客様がこれが役に立ったと考えています
    役に立った
     レポート
  • Yamachan
    5つ星のうち4.0 美しくて、悲しい
    2024年5月15日に日本でレビュー済み
    Amazonで購入
    夢の中でしか会えない母と妹のシーンがあまりにも美しすぎるので、
    戦争という現実が更に悲惨に伝わってくる。
    タルコフスキーの作品の中では、「惑星ソラリス」の次に私はこの作品が好きです。
    3人のお客様がこれが役に立ったと考えています
    役に立った
     レポート
  • minami_mura
    5つ星のうち5.0 タルコフスキーの原点
    2022年11月19日に日本でレビュー済み
    タルコフスキーの長編デビュー作。
    　家族をナチに虐殺された少年がスパイとしてナチ陣営に潜り込み、その怨念と情熱で情報収集をする物語。
    　観念的な部分を少なからず有するタルコフスキーの映画の中では、分かり易い作品。

    　高級将校が女性戦士を口説くときの白樺並木。
    　いつの世でも純情な青年には女性を口説くには荷が重すぎる。
    　そんな人間の経験の重みの優越性の否定できない側面をも若かりし私に感じさせた映画でもあります。
    　ですが、若いときみたときはどうしてもあの高級将校が女ッたらしにみえて嫌だった。
    　ゲッペルス一家の自殺体などは記録映像です。

    　撮影手法で瞠目すべきは、ナイフを持ちソ連軍の塹壕でナチの残虐な行為を糾弾する場面。その訴えは映画を観る観衆に向けられます。
    　タルコフスキーは他でもこの手法を用い、「サクリファイス」でもドキッとさせられます。
    　その他、荷台からリンゴが転がる場面など、後のタルコフスキー映像の特徴が随所に観られます。
    　少年の回想シーンがとても美しく、逆に回想が美しい分観る者の心にきりきりと戦争の残酷さを訴えかけます。
    　映像の詩人タルコフスキーの面目躍如といった作品に仕上がっています。

    　この映画は戦争の哀しさと共にタルコフスキーの原点が観られます。
    3人のお客様がこれが役に立ったと考えています
    役に立った
     レポート
  • ぺろ
    5つ星のうち5.0 地獄のような風景が美しい
    2013年10月6日に日本でレビュー済み
    Amazonで購入
    戦場が美しいなんて言ったら怒られそうですが、この映画ではそうなんです。
    日の出に浮かび上がる飛行機の残骸のシルエットや暗い沼に落ちる閃光弾など、
    光と闇のコントラストが素晴らしかったです。
    また、人物が着ている服や部屋の灯りが暖かそうな分、ロシアの寒さも伝わってきました。
    最初から最後まで、胸を打つような美しい映像の連続です。
    話も分かりやすく、抽象的な表現の箇所もスーッと入ってくる感じでした。
    そして何より、主人公の少年が美しすぎてビックリしました。
    7人のお客様がこれが役に立ったと考えています
    役に立った
     レポート
  • ブライス大好き
    5つ星のうち5.0 名画です
    2015年3月8日に日本でレビュー済み
    Amazonで購入
    この映画は嘗て大井町の名画座で見て感心しました。今ではこのように、平易に出かける事なく家で見られるようになりました。便利で多様化してる世の中だから、マイナーなソフトも観れます。だけど、雨でも雪でも友達と待ち合わせて映画館に行く胸騒ぎは無上の喜びでした。
    7人のお客様がこれが役に立ったと考えています
    役に立った
     レポート
  • Amazon カスタマー
    5つ星のうち5.0 タルコフスキーが戦争を描くと・・
    2014年11月4日に日本でレビュー済み
    Amazonで購入
    戦闘シーンがほとんどない詩的な映像。時間や予算の制約があったからこそ出来た珠玉の名作なのではないでしょうか。心に深く残ります。
    7人のお客様がこれが役に立ったと考えています
    役に立った
     レポート
  • caritas77
    5つ星のうち5.0 本作は、最終的に、どこに到達することになるのか、が大きいです。
    2023年1月13日に日本でレビュー済み
    「僕」は、生き延びられるのか、という点が、話の中途から最後まで問題になります。

    ロシアが舞台ですけれども、少年兵の存在があってはならないでしょうね。21世紀は、夢の世紀にはなりませんでした。残念なことです。
    役に立った
     レポート

他の国からのトップレビュー

すべてのレビューを日本語に翻訳
  • Al
    5つ星のうち5.0 Surreal beauty
    2022年7月4日にカナダでレビュー済み
    Amazonで購入
    One of Tarkovsky's earliest movies, Ivan's Childhood is beautiful and surreal. It contrasts the boy, Ivan's, peaceful, pleasant, pre-war childhood with the ugly, frightening reality of his wartime life through dreams.
    レポート
  • naturfilm
    5つ星のうち5.0 One of the greatest films in superb image quality
    2021年5月21日にドイツでレビュー済み
    Amazonで購入
    Image quality is by far the best of the Tarkovsky films from this distributor! A very pleasant surprise.

    The film is a masterpiece and in my personal top 10 - best films of all time.
    レポート
  • FM
    5つ星のうち5.0 Tragico e bellissimo
    2017年7月8日にイタリアでレビュー済み
    Amazonで購入
    Primo lungometraggio di Tarkovsky, già grande, tragico e bellissimo film sulla devastazione della guerra, con un finale di speranza. Da non perdere per chi conosce le opere successive di questo regista, tradotte in italiano.
    Il film è in lingua originale, con dei sottotitoli molto ben fatti.
    Ben fatto ed esaustivo il booklet che accompagna l'edizione.
    レポート
  • J. L. Sievert
    5つ星のうち5.0 Lost childhood
    2017年4月16日に英国でレビュー済み
    Amazonで購入
    To the extent he had a childhood, Ivan’s was brutal. A child of war, his youth was stolen from him. At age 12 he was forced to fight by fate. But there was one saving grace — he was loved by his comrades and commanding officer, and thus shielded from the fiercest battles. He acted as a runner, dispatching vital intelligence.

    He was also orphaned by the war, his father killed in it, his mother and sister murdered by it. The army is now his surrogate family.

    To the extent it’s possible, a child should be made to feel welcome and happy in the world. But Ivan isn’t happy. In fact, he burns with rage and hatred, damaged by the savagery of the world. His squadron continues to advance. The year is 1943 and the Germans are being pushed back toward their homeland. The Russians come across abandoned German outposts. In one they find old German picture books. Ivan and a comrade leaf through the books. They look at Albrecht Dürer’s famous etching of The Four Horsemen of the Apocalypse. “Who is he?” Ivan asks, pointing at an etching of a German man. “He’s a writer,” the comrade says. Ivan replies:

    “The Germans have no writers. I saw them burning books in the town square. They threw petrol on the books and burned them.”

    Knowledge, learning, books — all loathsome things to be destroyed by the savages. The child’s imagination cannot fully comprehend, so to it the Germans are not human. Inhumane and inhuman, they came to Russia to destroy it and us. They killed my family. Now I want to kill them too. They deserve my wrath.

    Of course Ivan looks doomed. There is talk of the war ending and Ivan being adopted by one of the officers. But even if he physically survives the war, how can he survive it emotionally? At night he escapes it in dreams, in sunny reveries of the past. It’s summer and he plays with other children along a beach. They run in the sand and into the waves. They splash and laugh. They are young and beautiful, pure and innocent. They are also lovely to look at.

    Make-believe and reality form and inform the world of the child, the divide between them thin and porous. Sometimes with his mates in his dreams we see Ivan playing soldier games, hiding behind trees and shooting, their rifles sticks or branches found on the floor of the forest. Play and reality overlap. Even now, caught up in a real war with authentic battles and bullets, Ivan is sometimes at play. In one of the Russian dugouts he pretends to fight a German soldier. There is no soldier, only the uniform of a German soldier hung up on a wall. He shoots at it, making the sounds of a firing gun.

    His dreams are also memories. In one he sits in a horse cart full of apples with three pretty girls. Their hair and faces and clothes are wet in the rain. But they laugh, happy to be riding in the rain with the apples. The sun breaks through. The rain ceases. Their clothes are dry as they reach a wide sandy beach. Some apples spill onto the beach and other horses will eat them. All is beautiful and peaceful — the summer sun, the wide beach, the happy children, the tasty apples. Life is good. Ivan remembers. In the dream he relives this goodness.

    He also sees his mother, the one who loves him most. She doesn’t need to tell him this. He knows by seeing her face, watching her move, her body filled with the language of protective love.

    But the war comes and changes everything.

    This film may be about war, but it isn’t a war film. Or not like most war films. Shells burst and flares light up the night sky. But we see no pitched battles and hardly a German soldier. Mainly we see Russian dugouts and ditches, burned villages, rutted and muddy roads, birch forests, rivers and swamps. Nature still dominates the land. Man is small compared to it. His bombs explode and trees shake. But in the long run nature will win and survive. It is man, perhaps, who must go, this badly flawed creature that will destroy itself.

    What the film is really about is lost childhood. Tarkovsky himself, the director of the film, wrote this in his film memoirs about Ivan:

    “The personality of Ivan moved me to the bottom of my heart. He was a character that had been destroyed, shifted off its axis by the war. Something incalculable, all the attributes of childhood, had gone irretrievably out of his life. And the thing he had acquired, like an evil gift from the war, in place of what had been his own, was concentrated and heightened within him.”

    Apart from Ivan, there is another character who personifies innocence — a young nurse named Masha. Tarkovsky writes insightfully of her too:

    “She looked so naïve, pure, trusting that it was immediately clear that Masha was completely defenceless in the face of this war which was nothing to do with her. Vulnerability was the keynote of her nature and age.”

    There is a famous scene in the film where Captain Kholin, a sympathetic officer who admires Masha’s beauty and innocence, lifts her across a deep ditch in the forest. He stands on both sides of the ditch, his long legs splayed, spanning it. He holds her aloft, suspended above the ditch and kisses her deeply on her mouth. She does not resist. Normally this would be erotic, sexual. But the look on Masha’s face after this happens is neither of these. It’s a look of being happily protected. The strong officer has held her, embraced her, kissed her. Such a man, she knows, is the reason Russia will be saved. She looks at him with admiration, not longing. She sees him with pride. How many film directors could have achieved this, and so subtly, wordlessly? It’s why Tarkovsky, in this his first feature film, was already a great auteur.

    Masha is innocent, like Ivan, a person so undeserving of this war.

    In a book called The Thunder Tree (1993) the author writes this of childhood:

    “…a ditch somewhere — or a creek, meadow, woodlot, or marsh…These are places of initiation where the borders between ourselves and other creatures break down, where the earth gets under our nails and a sense of place gets under our skin…Everybody has a ditch, or ought to. For only the ditches and fields, the woods and ravines can teach us to care for all the land.”

    Ivan knows all this. He didn’t have to think or say it. He lived it as a boy. It made him who he was. He cared for the land, his family, friends, youth. He cared for his country and the life he had known. But the apocalypse came, as Albrecht Dürer said it would. It came and swallowed everything.

    The film ends with the fall of Berlin. Russia has won the war. Soldiers drink and dance. Some are tossed in the air. Others sift through the soot and dust of burned-out buildings. Files and records are found. Not all the papers of the Third Reich were burned. Some gestapo dossiers are discovered. In one of them Ivan’s photo appears. He is dirty, tired, angry, defiant. He looks straight into the lens and seethes, mirroring the Nazi hatred back at itself, a perfect image of a perfect truth.

    The white birch forests gleam in the sun after the rain. Nature carries on come what may, man’s madness now temporarily at an end. Youth and apple carts and pretty girls are gone. So is mother and the past. But Ivan lived and was real, and in the end we see him running again along a wet and sandy shore, his face beautiful in the summer sun. He chases a young girl with long brown hair. You think he will tackle her, roll in the sand with her when he catches up, but he does not. He passes her without looking and keeps on running — running as far up the beach as his legs will take him.
    レポート
  • Ermite
    5つ星のうち5.0 Death Wish
    2007年9月14日にアメリカ合衆国でレビュー済み
    Amazonで購入
    This is a DVD to own. "Ivan's Childhood" is Tarkovsky's first and arguably his most famous film. Based on Vladimir Bogomolov's early novella, "Ivan" (that is, "John") (1957), the film achieved wide acclaim outside Russia. It was produced at the risky time when Premier Khrushchev's era was ending and fundamentalist Marxists were ascendant again, restricting freedom in the arts; it is, as one observer wrote, "one of the harshest, morally complex versions of the war in Soviet film." It won the Golden Lion award at the Venice Film Festival. With this debut film, Tarkovsky established an international reputation that has influenced many other filmmakers.

    Except for this novella, Bogomolov is not widely known outside Russia. However, it was translated and anthologized widely around the world. Look for Bernard Isaac's translation into British English. It has the atmosphere of reality. It is punctuated it with references to real places, the Dnieper River, the town Gomel, where Ivan was born, and the Trostyanets death camp; even official Red Army and SS documents have an authentic flavor.

    The novella is told in the first person narrative of a Red Army lieutenant. Ivan is about 12 and a "scout", or reconnaissance spy, sneaking across the swampy Dnieper River into the night and behind German lines. The war made him an orphan and filled him with maddening hatred and desperation for revenge. He has been with partisans, in a death camp, and wounded by friendly fire returning from a mission one night. The soldiers are amazed he's been through so much.

    There is the pun, of course: Ivan's last name is Bondarev, Ivan Bondarev, that is, John Bond. In the story, it's an intelligence cover name. However, Ian Flemming's first James Bond novels appeared in the early fifties before "Ivan" was published. It may be coincidental, and probably only of interest to Western readers.

    Writers often insert their own lives and experiences into their writings, and Bogomolov served in the Red Army in World War II and in intelligence. I do not know if Bogomolov based Ivan on any real person that he may have met or learned about. I guess we can only speculate about Ivan, yet a child working as a war-time spy seems plausible to me. After all, in the desperate chaos at the close of the war, Germany mobilized the Hitler Youth and insurgent units called Werewolves. There is plenty of historical evidence pointing to child combatants throughout history as well as in current events. We recall that Baden-Powell, who created the Boy Scouts, was a former soldier and spy, and the crafts of scouting are important reconnoitering skills used in war. The world is as morally conflicted as ever.

    Though he argued with Tarkovsky about the way his story was filmed, like all authors, I think Tarkovsky's approach was correct, considering the demands and possibilities of the cinemagraphic medium. This Criterion Edition of the film is cleaned up with a high definition digital transfer. There is a new subtitle translation. The highlight of the features is the interview with Nicholai (Kolya) Burlyaev, who portrayed Ivan. He reminisces how he was cast at 14 and how the film was made.

    The film follows the novella closely, though it takes a more objective viewpoint and enters Ivan's troubled dreams, which make striking imagery. It is tragic poetry whereas the novella is matter-of-fact. Here, Ivan is somewhat bratty and hot tempered. Though he is a child scout, I think the film suggests that he may not be the only one. He knows his trade-craft and takes it very seriously. Still, no one seems overly concerned (in either film or story) that a child is a war-time spy. Frankly, he insists on doing it. Ivan's only friends are the soldiers who want to care for him (after the war)or send him to school but do not object to his missions.

    The film, shot on location at the Dnieper River, is pregnant with dramatic, almost heavy-handed imagery and symbolism. There is the first metaphor of crossing the river. Then there is the metaphor of the dead tree. It's his extraction point where Sgt. Katasonov waits for him to bring him ashore to safety. But, Ivan misses the rendezvous because of German patrols and must swim further away. Here, one metaphor abuts another. At the end, following Ivan's last mission, Tarkovsky re-introduces the dead tree metaphor as Ivan races laughing on a beach, perhaps in whatever kind of dream that may have come for him. There are other interpretations, and this one satisfies me now. At the end of the day, we have Bogomolov's poignant story enhanced by Tarkovsky's uncompromising, haunting vision.
    レポート