1980年のロバート・レッドフォード初監督作品・・・
当然ながら、かなり話題になりました・・レッドフォードが、恋愛もの、
アクションもの、と違って、これ程までに繊細な、人の心情を捉えた
映画を見事に作り上げるとは・・・驚いたものです★
兄の事故により、自分を責め続ける主人公の青年コンラッド、
まじめで寛容な父親、明るく細かな事に気ずく母親・・・
それぞれの心情は誰にでもあることだと思います・・・
レッドフォードの巧みな演出力によって、どんどんと引き込まれてしまい、
コンラッドに精神科医が「君の友人だから・・」とのセリフに、涙が溢れ返りました★
また、オープニング、エンディングに使用された、パッヘルベルのカノン・・
とても心地よく、レッドフォードのセンスの良さが伺えます♪
特に、この映画で一凛の花のように映える、エリザベス・マクガバン・・・
あまりのチャーミングさに、当時からファンになりました!
普通の人々 [DVD]
フォーマット | 色, ワイドスクリーン, ドルビー |
コントリビュータ | ロバート・レッドフォード, ティモシー・ハットン, ドナルド・サザーランド, メリー・タイラー・ムーア, エリザベス・マクガヴァン, ジャド・ハーシュ |
言語 | 英語, 日本語 |
稼働時間 | 2 時間 4 分 |
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商品の説明
名作・傑作・話題作をいつまでもお求めやすい価格で!!
登録情報
- アスペクト比 : 1.78:1
- メーカーにより製造中止になりました : いいえ
- 言語 : 英語, 日本語
- 梱包サイズ : 18.03 x 13.76 x 1.48 cm; 83.16 g
- EAN : 4988113757973
- 監督 : ロバート・レッドフォード
- メディア形式 : 色, ワイドスクリーン, ドルビー
- 時間 : 2 時間 4 分
- 発売日 : 2006/11/2
- 出演 : ドナルド・サザーランド, メリー・タイラー・ムーア, エリザベス・マクガヴァン, ティモシー・ハットン, ジャド・ハーシュ
- 字幕: : 英語, 日本語
- 言語 : 日本語 (Mono), 英語 (Mono)
- 販売元 : パラマウント・ホーム・エンタテインメント・ジャパン
- ASIN : B000HKDEXI
- ディスク枚数 : 1
- カスタマーレビュー:
カスタマーレビュー
星5つ中4.3つ
5つのうち4.3つ
全体的な星の数と星別のパーセンテージの内訳を計算するにあたり、単純平均は使用されていません。当システムでは、レビューがどの程度新しいか、レビュー担当者がAmazonで購入したかどうかなど、特定の要素をより重視しています。 詳細はこちら
1,078グローバルレーティング
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トップレビュー
上位レビュー、対象国: 日本
レビューのフィルタリング中に問題が発生しました。後でもう一度試してください。
2022年10月30日に日本でレビュー済み
Amazonで購入
仕事のために、産業カウンセラーの本を10冊ほど読んだことがあるが、カウンセラーオススメの映画のひとつとして挙げられていたのが、この映画だ。
気の弱い父親、冷淡な母親、水難事故で亡くなった長男、長男の仕事自殺未遂をした繊細な弟、弟が入院中に知り合った女性の友人、そして弟の精神分析医が織りなす普通の家族の物語で、監督はロバート・レッドフォードだ。
兄弟は仲良く、夫婦もうまく行っていた。しかし、母親は弟には愛情を示さなかった。兄を失ってから家族の関係は崩れていく。精神分析は弟の悩みを吐き出させて行くうちに除々に信頼を得ていた。弟の女性の友人が自殺してパニックになったとき、診察室で患者と連帯していく姿は、カウンセラーの仕事のあり方を示してくれる。カウンセラーは医師ではないので、薬は処方しないが、患者と連帯できる重要な仕事だ。
最後に行き着く家族の姿には一切の不自然さがなく、静かな感動がある。映画館で幕が降りても、しばらくは立ち上がれないタイプのいい映画だ。アメリカの紅葉も美しい。
気の弱い父親、冷淡な母親、水難事故で亡くなった長男、長男の仕事自殺未遂をした繊細な弟、弟が入院中に知り合った女性の友人、そして弟の精神分析医が織りなす普通の家族の物語で、監督はロバート・レッドフォードだ。
兄弟は仲良く、夫婦もうまく行っていた。しかし、母親は弟には愛情を示さなかった。兄を失ってから家族の関係は崩れていく。精神分析は弟の悩みを吐き出させて行くうちに除々に信頼を得ていた。弟の女性の友人が自殺してパニックになったとき、診察室で患者と連帯していく姿は、カウンセラーの仕事のあり方を示してくれる。カウンセラーは医師ではないので、薬は処方しないが、患者と連帯できる重要な仕事だ。
最後に行き着く家族の姿には一切の不自然さがなく、静かな感動がある。映画館で幕が降りても、しばらくは立ち上がれないタイプのいい映画だ。アメリカの紅葉も美しい。
2024年3月2日に日本でレビュー済み
Amazonで購入
当時、ドナルドサザーランドさんは、44だった。
この映画のキャストすべてのひとたちにアカデミー賞ささげたいです。
画質が古く見づらいですが、いらないシーンがひとつもなく、さいごまで鑑賞できます。
ありがとう😭!
この映画のキャストすべてのひとたちにアカデミー賞ささげたいです。
画質が古く見づらいですが、いらないシーンがひとつもなく、さいごまで鑑賞できます。
ありがとう😭!
2014年6月23日に日本でレビュー済み
Amazonで購入
家族の絆の大切さ、というより
精神科医の先生の治療により、主人公が更正していく話
悪者である母親が退場することで話が終わるあたりはアメリカ映画らしい
精神科医の先生の治療により、主人公が更正していく話
悪者である母親が退場することで話が終わるあたりはアメリカ映画らしい
2023年10月28日に日本でレビュー済み
Amazonで購入
こんなに素晴らしい映画が、あまり知られていないのは残念です。昔のアメリカの映画は良かった。この映画を見て、助けられる人は多いはず。親との関係に悩んでいる人はぜひぜひこの映画に出会ってほしい。
2023年8月23日に日本でレビュー済み
Amazonで購入
一枚の枯葉が道に落ちる。ハイスクールの講堂でカノンの合唱が聞こえてくる。夜、両親は芝居を観て帰り父がコンラッド(T・ハットン)の部屋をノックする。「眠れんのか。本当に?あまり無理をするな」翌朝、朝食で「食欲ないんだ」「嫌ならいいの」と母は皿からゴミに捨てる。夜は父親のジャレット氏(D・サザーランド)を中心に3人で食卓を囲んだ。コンラッドは精神科医のバーガー医師を訪ね、最近の様子やヨット事故で兄が亡くなったことを話す。スクールでコンラッドの前で歌っている女の子プラット(E・マクガバン)に声をかけられる。コンラッドは母親とうまくいかない。クリスマス・イブの日、彼はプラットを電話でデートに誘い、マクドナルドに寄り、手首の傷を見られて「痛かった?」「覚えてない」「触れたくない?」「話した事はないよ。医者を除いて君が最初だ」彼女を車で送っていって、また電話すると言って別れた。コンラッドは昔の友人が自殺したと聞き、バーガー医師を訪ねる。兄とのヨット事故で「なぜ放した」「君の方が強かったからだ。君は耐えられたんだ。いつまで自分を責める気だ」「僕はヨットに残った」「そうだ。もう克服できるな」コンラッドはプラットの家に会いに行き「食事は?」「まだだ」「食べていく?ママ」コンラッドは「おかえりなさい」と母を抱きしめた。その夜、母は出ていった。庭に出たコンラッドは父に「愛してるもの」と言い、父はコンラッドを抱きしめ「パパもだ」パッフェルベルのカノンが流れて映画は終わる。ロバート・レッドフォード監督。R・レッドフォード監督がこれ一作で一流と認められた秀作。家族の絆を描いてT・ハットン好演。
2022年5月25日に日本でレビュー済み
Amazonで購入
当時のファッションを懐かしむ。
2023年6月19日に日本でレビュー済み
Amazonで購入
パッフェルベルのカノンの音楽を背景に、シリアスな物語が展開されます。
自分の中では、歴代最高の映画です。
自分の中では、歴代最高の映画です。
他の国からのトップレビュー
MONTIER PATRICIA
5つ星のうち5.0
Fan de Robert Redford
2024年5月5日にフランスでレビュー済みAmazonで購入
J'aime
DR P N CLARKE
5つ星のうち5.0
An elegant directorial debut from Redford
2020年4月20日に英国でレビュー済みAmazonで購入
Robert Redford’s 1980 directorial debut Ordinary People is a powerful character study about a family dealing with grief. The film’s title tells the audience what to expect, a film about ordinary people who normally live ordinary lives, assuming that one considers ordinary people to be white, upper-middle-class Americans who live in the suburbs. Whatever the audience’s own background however, it isn’t hard to empathise with the film’s characters.
The simple story concerns the Jarrett family, whose members are trying to cope following the death of eldest son Buck and subsequent attempted suicide of younger son Conrad. This back story is revealed through the dialogue and occasional flashback as the plot focalises through Conrad and his personal journey throughout the movie. The film’s great strength is the believability of is central characters, chiefly Calvin and Beth and their son, but also psychiatrist Dr Berger as well as the Jarretts’ various friends, all of whom act realistically awkwardly towards the grieving family.
Alvin Sargent’s screenplay – based on Judith Guest’s novel of the same name – is masterfully written, teasing out the conflicting and often suppressed emotions of the characters with complete plausibility. It is the acting however that really brings the story to life. Donald Sutherland, Mary Tyler Moore and Timothy Hutton are effortlessly convincing as Calvin, Beth and Conrad, each struggling in his or her own to way to come to terms with what has happened to their family. Hutton is especially impressive as the traumatised Conrad, through whom the film is focalised. His naturalistic performance resulted in him becoming the youngest ever actor to win the Academy Award for Best Supporting Actor. He’s remarkable throughout, but never more so than when he finally has a cathartic session with Berger and admits that he blames himself for Buck’s death and is angry at him at the same time. The contrast between Conrad and his friend Karen is interesting – he tells her he misses things about the psychiatric hospital, whereas she claims she does not and with forced cheeriness insists that she is alright. She ends up committing suicide, in contrast to Conrad, who comes to terms with his grief and loss.
Donald Sutherland and Mary Tyler Moore are equally impressive. Sutherland conveys Calvin’s desperate desire for his son to be all right and for his family to pull through, before ultimately realising and accepting that his marriage is coming to an end. The party scene and its immediate aftermath are striking: Buck’s death is the elephant in the room, and Beth is furious when Calvin tells one of their friends that Conrad is seeing a psychiatrist, resenting any intrusion into her fiercely guarded privacy. Moore’s emotionally brittle performance reaches its zenith during the golf-course argument before culminating in her final scene with Sutherland, as Beth is confronted with her own emotional distance and chooses to simply walk away. Judd Hirsh meanwhile is perfectly cast as psychiatrist Tyrone C. Berger, a great character who gradually earns Conrad’s trust and is consistently supportive without being judgemental.
Behind the camera for the first time, Redford realises that the character-led plot doesn’t require flashy direction, but rather solid, clear film-making that gives the actors and the material space to breathe. Cinematographer John Bailey uses shots that frame the actors in ways that reflect the emotional distance between them, for example during a scene in which the family has dinner and makes banal small-talk. The more dynamically shot scene of Buck’s death is only ever glimpsed briefly in flashback, making it all the more powerful whenever Conrad remembers, as it intrudes into his memories however much he would rather it didn’t. Ordinary People makes an elegant first feature for Redford, and its strength lies in his admirably low-key, intimate approach and the talent of the cast and crew he assembled.
The simple story concerns the Jarrett family, whose members are trying to cope following the death of eldest son Buck and subsequent attempted suicide of younger son Conrad. This back story is revealed through the dialogue and occasional flashback as the plot focalises through Conrad and his personal journey throughout the movie. The film’s great strength is the believability of is central characters, chiefly Calvin and Beth and their son, but also psychiatrist Dr Berger as well as the Jarretts’ various friends, all of whom act realistically awkwardly towards the grieving family.
Alvin Sargent’s screenplay – based on Judith Guest’s novel of the same name – is masterfully written, teasing out the conflicting and often suppressed emotions of the characters with complete plausibility. It is the acting however that really brings the story to life. Donald Sutherland, Mary Tyler Moore and Timothy Hutton are effortlessly convincing as Calvin, Beth and Conrad, each struggling in his or her own to way to come to terms with what has happened to their family. Hutton is especially impressive as the traumatised Conrad, through whom the film is focalised. His naturalistic performance resulted in him becoming the youngest ever actor to win the Academy Award for Best Supporting Actor. He’s remarkable throughout, but never more so than when he finally has a cathartic session with Berger and admits that he blames himself for Buck’s death and is angry at him at the same time. The contrast between Conrad and his friend Karen is interesting – he tells her he misses things about the psychiatric hospital, whereas she claims she does not and with forced cheeriness insists that she is alright. She ends up committing suicide, in contrast to Conrad, who comes to terms with his grief and loss.
Donald Sutherland and Mary Tyler Moore are equally impressive. Sutherland conveys Calvin’s desperate desire for his son to be all right and for his family to pull through, before ultimately realising and accepting that his marriage is coming to an end. The party scene and its immediate aftermath are striking: Buck’s death is the elephant in the room, and Beth is furious when Calvin tells one of their friends that Conrad is seeing a psychiatrist, resenting any intrusion into her fiercely guarded privacy. Moore’s emotionally brittle performance reaches its zenith during the golf-course argument before culminating in her final scene with Sutherland, as Beth is confronted with her own emotional distance and chooses to simply walk away. Judd Hirsh meanwhile is perfectly cast as psychiatrist Tyrone C. Berger, a great character who gradually earns Conrad’s trust and is consistently supportive without being judgemental.
Behind the camera for the first time, Redford realises that the character-led plot doesn’t require flashy direction, but rather solid, clear film-making that gives the actors and the material space to breathe. Cinematographer John Bailey uses shots that frame the actors in ways that reflect the emotional distance between them, for example during a scene in which the family has dinner and makes banal small-talk. The more dynamically shot scene of Buck’s death is only ever glimpsed briefly in flashback, making it all the more powerful whenever Conrad remembers, as it intrudes into his memories however much he would rather it didn’t. Ordinary People makes an elegant first feature for Redford, and its strength lies in his admirably low-key, intimate approach and the talent of the cast and crew he assembled.
Adam J. Kuban
5つ星のうち5.0
who knew I'd really like a movie from 1980?
2010年3月15日にアメリカ合衆国でレビュー済みAmazonで購入
I've never typed a review before now, although I've greatly benefited in the past from others' comments and analyses. But I just saw "Ordinary People" two days ago, and it's stuck with me like very few movies have before, so I felt compelled to share my two cents. I'm a 26-year-old guy who generally prefers action and suspense movies--I'm a BIG fan of "The Italian Job" and "The Silence of the Lambs." If I saw this movie through a preview or even just an excerpt of it, I'd honestly and most likely disregard it as just another "chick flick," which makes me humbled and outright stunned at the magnitude that this movie resonated with me.
If you're reading this review, then you've probably read (or plan to read) others like it, so I won't dwell on the storyline; here it is in a few sentences: Affluent Chicago suburb. Teenage son clearly bothered/distracted by something, but we don't find out 'til later that it's the premature, accidental death of his older brother. Dad seemed pleasant enough, especially in spite of the tragic circumstances, but mom appeared rather terse and distant. Nobody wanted to disclose their intense montage of emotions, and that created a (partially) irreconcilable rift within the family of three by the conclusion of the movie. The crux of this movie exposed how each family member confronted his/her own emotions.
It may not seem that worthy from my succinct summary, but you can find a brief synopsis of the movie almost anywhere. I'd rather use this space to explain why I found it so memorable.
Simply put, in my humble opinion, the cast presented understandable, everyday characters. With Donald Sutherland as the dad, Mary Tyler Moore as the mom, and Timothy Hutton as the son, you witness an intimate, realistic character study through the superb direction of Robert Redford. Some have said that after 30 years, "Ordinary People" has become just that--ordinary. But I feel that's exactly why I connected with these characters as much as I did. Their complex emotional states resulted from death, something that everybody must face from time to time. While memorable albeit devastating movies exist that discuss the impacts of direct and tangential family calamities like divorce, rape, and incest, I think it can be more difficult to connect with characters in those situations and really feel their pain if one has not experienced it in his/her own life. But all of us are forced to deal with death in some way--grandparents, parents, friends, and in the case of this movie--a sibling/child.
Timothy Hutton's performance as Conrad simply amazed me. I can see why he earned the Oscar for his role in this movie; I found it quite gripping and relatable. He just nailed it. Personally, I have not lost a brother, but I have lost a friend (in a horrific car accident), and I noticed several parallels in his character's personality with my own. He's presumably an introvert who prefers to keep his emotions all bottled up inside because he doesn't want to "bother anybody" or draw attention to himself. We're told further into the movie that he's a smart kid--an 'A' student with at least two extracurricular activities as well--who, in the past, never really needed a parental "kick in the rear" to stay motivated or on track. I suspect that he's a rather independent person who initially thought that since he's been able to figure out his problems before, he can certainly work through this one too. Of course, that's not the case, as evidenced by his recent suicide attempt. But still, that mindset--determining personal boundaries (i.e., knowing when you need help), discerning when personal problems should remain private, handling grief and emotional turmoil--who hasn't had to negotiate these at some point?
He even says to his dad toward the end of the movie: "I wasn't putting out many signals then. I really don't think you could've done anything." Recalling my teenage years, that's exactly how I was! And that, I believe, makes it easier to at least understand the parents' actions.
I'm not a parent, so I found it much easier to connect with Conrad and his journey, but I suppose that if I become one in the future, I'll have a newfound appreciation for the parents' reactions to this death in the family. So many have ripped Mary Tyler Moore's character, and while I agree--she really is terrible at times--to an extent, I also can sort of see her vantage point too. She's just buried one son, and then, in a fit a guilt and desperation, her only other son tried to take his own life?! There are also subtle moments in the movie when she attempted to connect with Conrad (e.g., bringing him a sweater when he's outside), but those simple gestures did not mitigate her loathsome stares and obvious resentment. Donald Sutherland's character's emotional flaw is that he sees what he wants to see. He doesn't want to worry about Conrad because he hasn't had to before the death of his brother; in fact, one wonders if he even knows how to express concern for his son's behavior? With Conrad's withdrawn, isolated demeanor, I can only imagine how frustrating it must be for a parent to deal with that in addition to his/her own emotions in wake of tragedy.
If you're still reading this review, then it probably sounds like I've just provided a glorified report for you. But that's really what surprised me the most with this movie: its simplicity. There are no chase scenes, gratuitous violence, or nudity; rather, it's just people interacting with one another. Who knew that this kind of movie could invoke such a lasting effect? And on top of that, one produced in 1980, three years before I was born!
If you're reading this review, then you've probably read (or plan to read) others like it, so I won't dwell on the storyline; here it is in a few sentences: Affluent Chicago suburb. Teenage son clearly bothered/distracted by something, but we don't find out 'til later that it's the premature, accidental death of his older brother. Dad seemed pleasant enough, especially in spite of the tragic circumstances, but mom appeared rather terse and distant. Nobody wanted to disclose their intense montage of emotions, and that created a (partially) irreconcilable rift within the family of three by the conclusion of the movie. The crux of this movie exposed how each family member confronted his/her own emotions.
It may not seem that worthy from my succinct summary, but you can find a brief synopsis of the movie almost anywhere. I'd rather use this space to explain why I found it so memorable.
Simply put, in my humble opinion, the cast presented understandable, everyday characters. With Donald Sutherland as the dad, Mary Tyler Moore as the mom, and Timothy Hutton as the son, you witness an intimate, realistic character study through the superb direction of Robert Redford. Some have said that after 30 years, "Ordinary People" has become just that--ordinary. But I feel that's exactly why I connected with these characters as much as I did. Their complex emotional states resulted from death, something that everybody must face from time to time. While memorable albeit devastating movies exist that discuss the impacts of direct and tangential family calamities like divorce, rape, and incest, I think it can be more difficult to connect with characters in those situations and really feel their pain if one has not experienced it in his/her own life. But all of us are forced to deal with death in some way--grandparents, parents, friends, and in the case of this movie--a sibling/child.
Timothy Hutton's performance as Conrad simply amazed me. I can see why he earned the Oscar for his role in this movie; I found it quite gripping and relatable. He just nailed it. Personally, I have not lost a brother, but I have lost a friend (in a horrific car accident), and I noticed several parallels in his character's personality with my own. He's presumably an introvert who prefers to keep his emotions all bottled up inside because he doesn't want to "bother anybody" or draw attention to himself. We're told further into the movie that he's a smart kid--an 'A' student with at least two extracurricular activities as well--who, in the past, never really needed a parental "kick in the rear" to stay motivated or on track. I suspect that he's a rather independent person who initially thought that since he's been able to figure out his problems before, he can certainly work through this one too. Of course, that's not the case, as evidenced by his recent suicide attempt. But still, that mindset--determining personal boundaries (i.e., knowing when you need help), discerning when personal problems should remain private, handling grief and emotional turmoil--who hasn't had to negotiate these at some point?
He even says to his dad toward the end of the movie: "I wasn't putting out many signals then. I really don't think you could've done anything." Recalling my teenage years, that's exactly how I was! And that, I believe, makes it easier to at least understand the parents' actions.
I'm not a parent, so I found it much easier to connect with Conrad and his journey, but I suppose that if I become one in the future, I'll have a newfound appreciation for the parents' reactions to this death in the family. So many have ripped Mary Tyler Moore's character, and while I agree--she really is terrible at times--to an extent, I also can sort of see her vantage point too. She's just buried one son, and then, in a fit a guilt and desperation, her only other son tried to take his own life?! There are also subtle moments in the movie when she attempted to connect with Conrad (e.g., bringing him a sweater when he's outside), but those simple gestures did not mitigate her loathsome stares and obvious resentment. Donald Sutherland's character's emotional flaw is that he sees what he wants to see. He doesn't want to worry about Conrad because he hasn't had to before the death of his brother; in fact, one wonders if he even knows how to express concern for his son's behavior? With Conrad's withdrawn, isolated demeanor, I can only imagine how frustrating it must be for a parent to deal with that in addition to his/her own emotions in wake of tragedy.
If you're still reading this review, then it probably sounds like I've just provided a glorified report for you. But that's really what surprised me the most with this movie: its simplicity. There are no chase scenes, gratuitous violence, or nudity; rather, it's just people interacting with one another. Who knew that this kind of movie could invoke such a lasting effect? And on top of that, one produced in 1980, three years before I was born!
kelly
5つ星のうち5.0
dvd ORDINARY PEOPLE
2024年3月30日に英国でレビュー済みAmazonで購入
lOVE THIS FILM!!
Franco Feletti
5つ星のうち5.0
E' un'opera pluripremiata.
2020年12月13日にイタリアでレビュー済みAmazonで購入
Il filmato all'inizio è un po' tremolante. Ma penso sia un effetto voluto.
E' un bellissimo film.
E' un bellissimo film.