2025年4月6日日曜日

ストリーミングで利用できない27の最高の映画

The 27 Best Movies Unavailable on Streaming

The 27 Best Movies Currently Not Streaming Anywhere: 'Short Cuts,' 'Pink Flamingos,' 'Cocoon,' and More

23 Best Movies Not Available on Streaming

Clockwise from left: The Fall, Happiness, Wild at Heart, The Heartbreak Kid, and Short Cuts

Courtesy Everett Collection

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Last July, cinephiles and lovers of cult films were given a blessing from the movie gods: an honest to god rerelease of "The Fall," Tarsem Singh's singular 2006 fantasy adventure epic. The movie, which stars Lee Pace in a dual role as an injured 1915 Hollywood stuntman and the hero of an epic tale he spins for a hospitalized little girl, was greeted with mixed reviews but love from its biggest fans upon its 2006 Toronto Film Festival premiere. In the years since its premiere, the film has developed a passionate little fandom, but actually tracking it down has proven more difficult than it should be — it's been completely unavailable on streaming for years.

With the July 15 news that Mubi would re-release "The Fall" latter that…uh, fall, that long drought finally ended. The arthouse streamer and distributer premiered the 4K restoration of Singh's film at the 2024 Locarno Film Festival this August, followed by a September 27 streaming release. The news marked the end of one of the longest absences a film has experienced in terms of streaming availability — and gives hope for other films stuck in that particularly brutal purgatory.

Generally speaking, people often discuss the streaming age as a landscape that offers nigh-unlimited access of film history to anybody — or, at least, anybody who can pony up money to the right services. And it's true that streaming has its benefits, allowing for quick and easy availability of thousands of classics films, as long as you know where to look and how to find them. But, as American audiences have almost completely abandoned physical media for online access, that transition has left a lot of great, underrated works in the dust.

Whether it's because of rights issues or sheer negligence, you don't need to look too deeply to find plenty of iconic and worthwhile films that just can't be accessed on streaming. Some of these films do occasionally pop up on streamers for a month or two before vanishing; others have had prolonged absences. While the answer to how to watch these movies is simple — invest in physical media — if you don't have the ability to do so, the inability to throw on a banger like "Pump Up the Volume" can prove more than a little aggravating.

With "The Fall" finally on streaming, IndieWire is taking a look at some of the other streaming victims that deserve a new lease on life via streaming. To qualify for this list, the movie cannot be available on any legal commercial streaming service or via VOD platforms like YouTube, Apple TV, and Amazon. Read on to find 27 great movies that you can't stream anywhere. Entries are listed in chronological order.

BLONDE VENUS, from left, Sidney Toler, Marlene Dietrich, 1932

Photo : Everett Collection / Everett Collection

"Blonde Venus" (1932)

One of many films from the powerhouse director-actress duo of Josef von Sternberg and Marlene Dietrich, the pre-code gem "Blonde Venus" stars the ever-flinty Dietrich as Helen, a wife and mother who reluctantly returns to cabaret performing when her husband, Ned (Herbert Marshall) gets sick from radiation poisoning. Desperate for the money needed to pay for treatment, she enters into a financial arrangement with a rich playboy Nick (Cary Grant, in a very early role) that threatens to destroy her marriage. Like many of Sternberg and Dietrich's collaborations, its an ahead-of-its-time, gritty look at how women economically navigated a culture often hostile to them, and serves as a tremendous showcase for what made Dietrich such a singular performer. 

REBECCA, from left: Joan Fontaine, Judith Anderson, 1940

Photo : Courtesy Everett Collection

"Rebecca" (dir. Alfred Hitchcock, 1940)

It seems absurd that Alfred Hitchcock's only Best Picture-winning film is one of his few films to go undistributed on streaming, but such is the fate that has befouled "Rebecca." Hitchcock's first American production, his adaptation of Daphne du Maurier's gothic novel is a perfectly atmospheric and tortured rendition of the love affair between the unnamed second Mrs. de Winter (Joan Fontaine) and the Byronic Maxim de Winter (Laurence Olivier), with Judith Anderson stealing the show as the vampiric Mrs. Danvers. Unfortunately, if you want to experience du Maurier's story on streaming, your only option is the panned 2020 Ben Wheatley version, which you're better off ignoring entirely.  

A THOUSAND CLOWNS, from left, Barry Gordon, Jason Robards, Jr., 1965

Photo : Courtesy Everett Collection

"A Thousand Clowns" (1965)

One of just two theatrical films from director Fred Coe — most notable as one of the directors of the influential TV anthology "Playhouse 90" — "A Thousand Clowns" is an underrated parental dramedy that mixes laughs with potent emotion. Based on a Broadway play, it stars Jason Robards (reprising his role from the original stage production) as Murray, an unemployed TV writer living in New York City. The sole guardian of his nephew Nick (Barry Gordon), Murray is forced to grow up himself to retain custody by seeking a more stable job. A crackerjack script and cast (Martin Balsam won best supporting actor at the Oscars for his performance as Murray's agent and brother) makes "A Thousand Clowns" a sharp look at the sacrifices people make for the ones they love. 

THE TARNISHED ANGELS, from left: Dorothy Malone, Rock Hudson, 1957

Photo : Everett Collection / Everett Collection

"The Tarnished Angels" (dir. Douglas Sirk, 1957)

Douglas Sirk is best known for making melodramas in glorious Technicolor. "The Tarnished Angels" subs out his use of stunning shades of reds and blues and greens for black-and-white CinemaScope, but his adaptation of the William Faulkner novel 'Python' has plenty of melodrama all the same. Sirk's regular leading man Rock Hudson plays journalist Burke Devlin, who takes on a story about former World War I pilot Roger Shumann (Robert Stack) and his current work as an air show stuntman. In doing so, he falls madly in love with Shumann's abused wife LaVerne (Dorothy Malone). Hudson and Stack are great, but Malone's steely, exceptional performance is what gives "The Tarnished Angels" its emotional power. 

THE DEVILS, Vanessa Redgrave, 1971

Photo : Courtesy Everett Collection

"The Devils" (dir. Ken Russell, 1971)

Ken Russell's controversial religious drama "The Devils" is famously difficult to track down both on DVD and streaming, and has been completely absent from platforms since a brief stint on the Criterion Channel in 2024. Banned in several countries for its gore and sexual content, the film tells a heavily fictionalized account of how 17th-century French priest Father Grandier (Oliver Reed) was persecuted and accused of witchcraft by his rivals and a nun Sister Jeanne (a diabolical Vanessa Redgrave) that's obsessed with him. The brilliant performances and go for broke filmmaking make "The Devils" a cinematic experience like no other. 

VANISHING POINT, Barry Newman (in car left), 1971, TM & Copyright © 20th Century Fox Film Corp./courtesy Everett Collection

Photo : ©20thCentFox/Courtesy Everett Collection

"Vanishing Point" (1971)

A bit obscure at the time of its release, Richard C. Sarafian's "Vanishing Point" has picked up a cult following in the 50 years since its release, especially among filmmakers: It's one of Steven Spielberg's favorite films, and was referenced in Edgar Wright's "Baby Driver" and Quentin Tarantino's "Death Proof." Barry Newman stars as Kowalski, a Vietnam vet turned pill addict who gets hired to drive a car from Colorado to California and attempts the trip in less than 15 hours, resulting in high-speed recklessness that puts the police on his tail and turns him into a folk legend for the people. Slickly made and subversive, "Vanishing Point" is a tightly wound action film with an unexpected existential streak. 

SLEUTH, from left, Michael Caine, Laurence Olivier, 1972, TM & Copyright ©20th Century Fox Film Corp./courtesy Everett Collection

Photo : Copyright ©20th Century Fox Film Corp./courtesy Everett Collection

"Sleuth" (dir. Joseph L. Mankiewicz, 1972)

Joseph L. Mankiewicz's final film before retirement, 1972's "Sleuth" sees the "All About Eve" director take on a twisted, shocking two-hander. Laurence Olivier plays Andrew Wyke, a detective fiction writer who invites his wife's lover (Michael Caine) to his mansion, where a fierce and surprising game of one-upmanship commences. Consistently shocking and genuinely unpredictable, the wild "Sleuth" is a film best watched blind. 

THE HEARTBREAK KID, from left: Augusta Dabney, William Prince, Eddie Albert, Charles Grodin, Cybill Shepherd, Audra Lindley, 1972, TM & Copyright © 20th Century Fox Film Corp./courtesy Everett Collection

Photo : ©20thCentFox/Courtesy Everett Collection

"The Heartbreak Kid" (dir. Elaine May, 1972)

If you want, you can go ahead and stream the 2007 remake of "The Heartbreak Kid" starring Ben Stiller on Paramount+. But why would you want to do that? The poorly reviewed bomb can't hold a candle to Elaine May's fiercely funny 1972 original film, which is less easily available but well worth seeking out. Starring a career-best Charles Grodin as a self-absorbed salesman who heads to Miami Beach to honeymoon with his wife and soon finds himself taken with another woman, May's film is a skewering of masculine selfishness and deluded romantics that practically perfects the art of cringe comedy.  

PINK FLAMINGOS, Divine, Mary Vivian Pearce, Mink Stole, Danny Mills, John Waters, Edith Massey, David Lochary, 1972

Photo : Courtesy Everett Collection

"Pink Flamingos" (dir. John Waters, 1972)

In some respects, it's fitting that a film as proudly underground as "Pink Flamingos" is so intensely difficult to track down. Still, more squeamish viewers would probably appreciate the opportunity to watch John Waters' defining work easily at home. Starring the legendary Divine as a criminal whose rivalry with a couple leads her to engage in wildly depraved acts — such as exhibitionism, vomiting, incest, murder, cannibalism, and, of course, shit eating — this brilliant work of abject art has it all. 

SILENT MOVIE, from left: Bernadette Peters, Mel Brooks, 1976. ph: TM & Copyright © 20th Century Fox Film Corp. All rights reserved. / courtesy Everett Collection

Photo : ©20thCentFox/Courtesy Everett Collection

"Silent Movie" (1976)

"Silent Movie" is not one of Mel Brooks' better spoofests — it's a mere skit compared to the exquisite perfection of "Blazing Saddles" or "Young Frankenstein." Still, it's a Mel Brooks film, which makes it a delight if you can track it down. Made with intertitles instead of dialogue, the film combines Buster Keaton and Charlie Chaplin-inspired slapstick with industry satire to follow a hapless film director looking to produce a silent film throwback. Really though, it's an excuse to string together some great comedy from a great cast, which includes Dom DeLuise, Marty Feldman, Bernadette Peters, and Sid Caesar, on top of some big name stars (Liza Minnelli and Paul Newman, for two) parodying themselves. 

MELVIN AND HOWARD, Mary Steeburgen, 1980, (c) Universal/courtesy Everett Collection

Photo : ©Universal/Courtesy Everett Collection

"Melvin and Howard" (1980)

An early gem from Jonathan Demme, "Melvin and Howard" was the start of the director's great '80s run of humanist dramedies. Based very loosely on a real-life story, the film stars Jason Robards as Melvin, a drifter who rescues a disheveled motorist in the Nevada desert, unaware that it's business magnate Howard Hughes. That part of the story is in the background for most of it — instead the Oscar-winning script by Bo Goldman invests itself in Melvin's modest life as he tries fruitlessly to pursue the American dream. It's a funny and odd film with great performances, particularly from Mary Steenburgen who steals the show as Melvin's flighty wife Lynda. 

PINK FLOYD THE WALL, 1982, (c) MGM/courtesy Everett Collection

Photo : ©MGM/Courtesy Everett Collection

"Pink Floyd — The Wall" (1982)

You can obviously go on Spotify or your preferred streaming service to listen to Pink Floyd's influential concept album "The Wall." But, as groundbreaking and brilliant as that work is, you'd also want to try and track down the 1982 film adaptation, a surreal work from director Alan Parker that literalizes the original album's storyline about a rock star losing his grasp on reality. Blending live-action with animated sequences, it's a trippy watch that ranks among the best musical films ever made. 

Photo : ©20thCentFox/Courtesy Everett Collection

"Cocoon" (dir. Ron Howard, 1985)

One of those films that's bafflingly never been on streaming, "Cocoon" was a huge financial success upon release, received positive reviews, helped establish Ron Howard's directing career, and received two Oscars (one for Don Ameche in Best Supporting Actor and one for Best Visual Effects). And yet, it's now almost impossible to watch, with even DVD releases proving difficult to track down. The story of a Florida elder care home that's visited by aliens who unwittingly rejuvenate and strengthen the aging residents is an earnest mix of comedy and drama, rendered with a sweet touch by Howard and elevated by committed performances from the ensemble, which also includes Wilford Brimley, Hume Cronyn, Brian Dennehy, Jack Gilford, Steve Guttenberg, Maureen Stapleton, Jessica Tandy, Gwen Verdon, Herta Ware, Tahnee Welch, and Linda Harrison. 

Photo : ©Walt Disney Co./Courtesy Everett Collection

"The Brave Little Toaster'"(dir. Jerry Rees, 1987)

A childhood favorite for many who grew up in the '80s and '90s thanks to VHS releases, "The Brave Little Toaster" is frustratingly difficult to track down now: You'll need to nab a DVD on Amazon or eBay to properly watch it. The film from Jerry Rees is notable as the first animated movie to debut at the Sundance Film Festival, and tells the story of five household appliances searching for their master. Its mix of weighty character development and snappy songs makes it an animated film that can be enjoyed by adults and kids alike. 

Photo : Courtesy Everett Collection

"Hotel Terminus" (dir. Marcel Ophuls, 1988)

A nearly 4-and-a-half-hour documentary about the rise and fall of a Nazi war criminal isn't exactly the type of movie people just throw on streaming on a random night. Still, Marcel Ophuls' "Hotel Terminus" is well worth seeking out and experiencing. The winner of the Academy Award for Best Documentary Film in 1988, the movie uses its story of the life of Klaus Barbie — a German SS officer so notorious for his misdeeds he became known as the "Butcher of Lyon" — as a window into arresting and terrifying questions about the nature of evil and how responsibility for misdeeds can be deflected by bureaucracy and hierarchies. 

Photo : ©Samuel Goldwyn Films/Courtesy Everett Collection

"Wild at Heart" (dir. David Lynch, 1990)

One of the late, great David Lynch's most polarizing films, "Wild at Heart" is nonetheless one of the director's more accessible (low bar, we know) and purely fun efforts — a Bonnie and Clyde story that sizzles with the heat between leads Nicolas Cage and Laura Dern. They play young lovers Sailor and Lulu, who head on a road trip to escape the shadow of Lulu's domineering mother Marietta (Diane Ladd), only to be trailed by Marietta's hired detective and hitman. Stylish and packed with gore, grotesquerie, and tributes to Lynch's favorite film, "The Wizard of Oz," "Wild at Heart" picked up a well-deserved Palme d'Or upon its 1990 release. 

Photo : ©New Line Cinema/Courtesy Everett Collection

"Pump Up the Volume" (dir. Allan Moyle, 1990)

"Heathers" is more famous, but "Pump Up the Volume" contains the essential performance from early '90s heartthrob Christian Slater. He plays introverted and unpopular high schooler Mark Hunter, who starts an anonymous shortwave radio show to rebel against the injustices and hypocrisies of his high school and small Arizona town. Slater is fiery, dreamy, and unforgettable in the role, and his chemistry with Samantha Mathis as Mark's love interest makes Allan Moyle's teen film a delightful watch. Unfortunately, on streaming, the closest thing to "Pump Up the Volume" you can find is Disney Channel's 2012 so-bad-it's-good "Radio Rebel," which does basically the same premise to considerably less potent effect.  

Photo : ©Samuel Goldwyn Films/Courtesy Everett Collection

"Flirting" (dir. John Duigan, 1991)

A sensitive and smart indie teen film from Australia, "Flirting" marked the breakout roles for both Thandiwe Newton and Nicole Kidman, who look young and fresh-faced as teen girls at a boarding school. The film is actually in the middle of a series of semi-autobiographical films Duigan made featuring Noah Taylor as the main character Danny, but the hearttrending main story — about the teen's fumbling first relationship with Newton's Ugandan immigrant — stands on its own. 

Photo : ©Fine Line Features/Courtesy Everett Collection

"Short Cuts" (dir. Robert Altman, 1993)

One of the most successful films from Robert Altman's '90s renaissance, "Short Cuts" is frustratingly difficult to track down. Based on 10 different short stories from the master of minimalism Raymond Carver, Altman's dramedy turns these separate stories into an interlocking narrative that unfolds across Long Angeles. Featuring an enviable ensemble of stars (including Lily Tomlin, Julianne Moore, Jennifer Jason Leigh, Jack Lemmon, Frances McDormand, Robert Downey Jr., and Tom Waits), "Short Cuts" is an indelible portrait of the City of Angels. 

Photo : ©Miramax/Courtesy Everett Collection

"Heavenly Creatures" (dir. Peter Jackson, 1994)

Peter Jackson's "mature" breakthrough after releasing several cult classic (and brilliant) splatter horror movies, "Heavenly Creatures" is still one of the director's best. A vivid mix of psychological drama and fantasy, the film tells the story of Pauline Parker and Juliet Holme, two teen girls who in 1954 murdered Parker's mother. Melanie Lynskey and Kate Winslet star as the two girls, and their performances as young virtual unknowns remain some of the stars' most indelible and heartbreaking work to this day. 

Photo : ©Shining Excalibur Pictures/Courtesy Everett Collection

"Kids" (dir. Larry Clark, 1995)

Although it's directed by Larry Clark, today "Kids" is probably better remembered for serving as the launchpad for cinematic provocateur and experimenter Harmony Korine. Controversial at the time of its release for its frank depictions of teen sex and substance abuse, the film sharply divided critics and had to release unrated in theaters after the MPAA rated it NC-17. Today its day-in-the-life story of a group of hedonistic teenagers stands as a sharp portrait of Gen X malaise, and as an important starting point for several of its young stars, most notably Chloë Sevigny and Rosario Dawson. 

Photo : Courtesy Everett Collection

"Strange Days" (dir. Kathryn Bigelow, 1995)

Possibly director Kathryn Bigelow's best film, "Strange Days" can be purchased on Blu-ray but is usually impossible to track down on streaming. A commercial failure upon release that has since developed a massive cult following, the cyberpunk thriller stars Ralph Fiennes and Angela Bassett as a former police officer and a bodyguard who get drawn into a police conspiracy involving a murder and a device that allows people to experience the memories of others. Bigelow was heavily inspired by the 1992 Los Angeles riots, creating an anti-police film that leans heavily into critiques of systemic corruption and racism that still feels radical today. But even without its stirring political context, "Strange Days" is a wildly compelling thriller that features fantastic performances from Fiennes and Bassett, and some of Bigelow's most accomplished filmmaking.

Photo : ©Fine Line Features/Courtesy Everett Collection

"Crash" (dir. David Cronenberg, 1996)

It's a crime that the only "Crash" you can watch easily on streaming is the infamous 2004 Oscar winner. Not when David Cronenberg's "Crash'"is quite possibly the Canadian auteur's masterpiece, a slick and unforgettable look at sexuality and connection that wraps its probing questions behind a lurid premise. Deborah Kara Unger and James Spader star as the central couple, whose passionless sex life is reignited when they become involved with a cult-like group that derives sexual pleasure from car crashes. Featuring memorable performances from its entire ensemble and scenes that are both disturbing and unquestionably hot, Cronenberg's film is a fascinating look at the relationship between pleasure and pain. 

Photo : ©GramercyPictures/Courtesy Everett Colle / Everett Collection

"The Portrait of a Lady" (1996)

Lushly made with a dreamy, impressionistic touch, "The Portrait of a Lady" is one of Jane Campion's most underrated films. Based on Henry James' classic novel, the film stars Nicole Kidman in the role of Isabel Archer, a strong-willed but sheltered young American woman who comes into the possession of a large inheritance, and is subsequently manipulated by a suitor (John Malkovich) and a manipulative friend (Barbara Hershey). Divisive for audiences, with a chilly touch that some see as at odds with its subject matter, "The Portrait of a Lady" is nonetheless well worth watching for Kidman's exquisite performance and the singular mood that Campion conjures.

Photo : ©Lions Gate/Courtesy Everett Collection

"Happiness" (dir. Todd Solondz, 1998)

Controversial but highly acclaimed upon release, "Happiness" has gone years without a streaming home. A shame, because more should be familiar with Todd Solondz's acidic comedy, one of the best indie films of its decade. Loosely following the lives of three adult sisters and their loved ones living in New Jersey, the film features a game cast — including Phillip Seymour Hoffman, Dylan Baker, Jarred Harris, Lara Flynn Boyle, and Jane Adams — playing troubled souls, from pedophilic fathers to perverted creeps. Solondz's film doesn't just push buttons for buttons sake, instead offering surprising empathy for these screwed-up freaks and their quest to find love. Hopefully, the movie's recent physical release via the Criterion Collection portends a streaming premiere for the film in the near future.

Photo : Courtesy Everett Collection

"Compensation" (1999)

No less a cultural critic than Richard Brody has described "Compensation" as one of the greatest American independent films ever made — which makes how impossible it is to track down so exasperating. Zeinabu irene Davis' lovely and underrated film stars Michelle A. Banks and John Earl Jelks as two Black couples — one in the 1910s and one in the modern day — who fall in love despite the barrier between deafness and hearing, and contend with the issues of their day. Beautifully shot in black and white, "Compensation" evokes cinematic history — the 1910s half is shot like a silent film — to explore the ways life for Black Americans has both changed and stayed the same. —WC 

Photo : Courtesy Everett Collection

"The Intruder" (2004)

Even by Claire Denis' standards, "The Intruder" is an elliptical, withholding journey, one that keeps you at a distance before suddenly coming in for the kill. Michel Subor, in a nearly wordless performance, plays an ex-mercenary suffering from a heart condition who abandons everything to spend his last few days on a trip to Tahiti to track down a son he never knew. It's a difficult but rewarding story of morality and connection that ranks among Denis' best. 

カントクさんによるXでのポスト

【大河ドラマ べらぼう】第14回「蔦重瀬川夫婦道中」のあらすじ 検校と瀬以、囚われの身に 4月6日放送 相関図や「徹底ガイド」も 横浜流星主演 – ページ 2 – 美術展ナビ

【大河ドラマ べらぼう】第14回「蔦重瀬川夫婦道中」のあらすじ 検校と瀬以、囚われの身に 4月6日放送 相関図や「徹底ガイド」も 横浜流星主演 – ページ 2 – 美術展ナビ

【大河ドラマ べらぼう】第14回「蔦重瀬川夫婦道中」のあらすじ 検校と瀬以、囚われの身に 4月6日放送 相関図や「徹底ガイド」も 横浜流星主演

第13回「お江戸揺るがす座頭金」回想 「蔦重はわっちの光」物語が紡いだ瀬川と蔦重の切れない絆 「神君」の威光で高利貸し、体制の軋み浮き彫りに 鱗形屋、ふたたびの偽板に沈む

再び「籠の鳥」の瀬川、「蔦重はわっちの光」涙の告白

妻になった瀬以(小芝風花さん)が、吉原を離れても蔦屋重三郎(蔦重、横浜流星さん)を思い続けていることを確信した鳥山検校(市原隼人さん)。瀬以に「(お前と自分は)どこまでいこうと女郎と客、ということだな」と冷たく言い放ち、座敷に閉じ込めてしまいます。再び、「籠の鳥」に戻ってしまった瀬以の姿があまりに哀れ。見る者の涙を誘いました。(場面写真はNHK提供)

瀬以と蔦重の魂の繋がりを示す『塩売文太物語』という"物証"を突き付け、蔦重に屋敷に来るよう求めた検校。のっぴきならない状況を察知した蔦重は、検校の付き人に従い、屋敷に向かいます。検校は、蔦重を交えてすべての決着を付けよう、という覚悟だったでしょう。一方、蔦重との不義密通は否定する瀬以ですが、検校から「いくら金を積まれても、心は売らぬ。そういうことであろう」と短刀を手に迫られると、さすがに隠し事はできないと覚悟を決めました。言葉遣いも昔の廓言葉に戻りました。そこにいたのは検校の妻「瀬以」ではなく、吉原の象徴の花魁、瀬川でしょう。

瀬以が吉原から持ち込んできたものは、蔦重に関わる本ばかりでした

「この世に女郎の実(まこと)はない」 瀬川の悲痛

「蔦重はわっちにとって光でありんした。重三を斬ろうがわっちを斬ろうがその過去を変えることはできんせん」と自らの本心を明かしました。同時に、何度も検校を傷つけてしまったことへの謝罪の気持ちもウソではないのが瀬川の真っ当さです。「主さんこそ、わっちをこの世の誰より大事にしてくださるお方。人の心を察し過ぎる主さんを、わっちのいちいちが傷つけているということも」。小芝風花さんの迫真のセリフ回しに息を呑みました。

検校の刀を手にとって、自分の胸に突き付ける瀬川。蔦重を思う気持ちが消えてしまえばいい、と願っていたのに、それは叶わなかった、と告白します。「信じられぬというのなら、どうぞ。ホンにわっちの心の臓を奪っていきなんし」と泣くのでした。「この世にないのは四角の卵と女郎の実(まこと)」と自らを口にした瀬川。本気もウソも一切合切含めて、色恋沙汰をもてあそぶしかない色里の女郎。その過去を消し去ることの難しさを改めて示すエピソードでもありました。瀬川、蔦重、検校。この3人はどう決着するのでしょう。

『塩売文太物語』、瀬川と蔦重の絆の象徴

『塩売文太物語』がストーリーのカギを握る重要なアイテムとして、再びクローズアップされました。瀬川と蔦重の絆の原点であり、象徴でした。改めて2人にとって、この本がどういう重みを持っているのかを簡単に振り返っておきます。

2人が小さいころ。あざみ(瀬川の幼名)が大切にしていた根付を井戸に落としてしまい、幼馴染の柯理からまる(蔦重の幼名)が何とか拾い上げようとしますが果たせません。

諦めがつかず怒り出すあざみに、「おいらの宝物をやるから、これで手打ちにしない?」と差し出したのがこの本でした。よほど大事にしていた証拠に、裏見返しのところに「からまる」と拙い文字で名前を入れていました。

以来、本がボロボロになるまで、折に触れては読んできた瀬川です。

しがない塩売の娘で、心優しく教養のある小しおが、貴族の若者に見初められて幸せになるシンデレラストーリーでした。2人はそれぞれ、小しおに瀬川を重ねてきたことでしょう。

おしどりを逃がしてやる小しお。あとでこのおしどりに恩返しされます
『塩売文太物語 2巻』,鱗形屋,寛延2刊. 国立国会図書館デジタルコレクション https://dl.ndl.go.jp/pid/2533276
貴族の若者と結ばれ、めでたしめでたし、のお話
『塩売文太物語 2巻』,鱗形屋,寛延2刊. 国立国会図書館デジタルコレクション https://dl.ndl.go.jp/pid/2533276

蔦重も、平賀源内(安田顕さん)から書籍は人々の希望と救いになるよ、と諭された際にこの本のことを思い出していました。

「そうかもしれませんね。本が運んでくる幸せには、オレも覚えがあります」。

2人に本の楽しさ、吉原を生き抜く心構えを教えてくれた朝顔姐さん(愛希れいかさん)との愛おしい日々が、蔦重の脳裏に蘇ります。

互いの気持ちを確かめ合ったあと、蔦重が一緒に𠮷原から足抜けしようと瀬川に渡した通行切手の名前が「しお」でした。命がけの秘密にまつわる符号を『塩売文太物語』から取るほど、2人にとってこの本は命の次に大切なもの。この通行切手を破いた片割れも、瀬川は肌身離さず、検校邸に持ってきていました。

『塩売文太物語』をめぐる様々なエピソードの積み重ねは、2人の恋路の象徴というだけではなく、フィクションというものが人に与える夢や希望こそ、「べらぼう」の重要なモチーフであることを示しているのでしょう。現代においても不変の考察テーマです。

検校らの高利貸しの実態、明るみに

当時の目の不自由な人たちが組織する職能集団、当道座の一部勢力による高利貸しの実態が、江戸城中で明らかにされました。

坊主頭に裃という尋常ではない姿で将軍・家治(眞島秀和さん)と、世継ぎの家基(奥智哉さん)の前に姿を見せたのは、旗本の森忠右衛門と虎太郎の父子でした。「座頭金に手を出し、追い詰められました」。森らが将軍に会ったかどうかはともかく、この騒動は史実です。

「日本盲人史」(成光館出版部、中山太郎著、1934年刊)などによると、安永7年(1778年)7月、森父子とそれぞれの妻の計4人が姿を消しました。8月に発覚し、奉行所に届け出があったので大騒ぎになり、4人の行方を探すうち、森父子が出頭。上司に事情を説明しました。

「忠右衛門剃髪して衣に輪袈裟を懸、虎太郎は麻上下にて、小田原提灯を持たり、様子承る處不勝手に付、筋悪敷借金多く人前も不相成家出致候處、御尋厳く大勢及難儀候趣承り立戻候由(中略)最初出奔致し千住旅籠屋に一宿致し、翌日唯念寺知行の名主を頼み、店を借頭を剃玄忠と名を改醫者に成候處(後略)」

と当時の文献にはあります。ドラマでは容赦ない取り立ての様子も描写されました。こちらも当時の文献には「居催促、強催促」と表現され、「貸金の滞りたる時、先武士ならば玄関の眞中に上がり、聲高に口上を述、居催促・強催促など云て外聞外見を不構、又町家ならばいかにも近所合壁へ聞るやうに悪口を並べ罵るなり。(中略)老人小児などの衣服を脱とりて返済する事になれり」など。これではたまったものではありません。将軍家の威光をバックにした彼らの強引な取り立てに対し、武家や庶民の反発は強まる一方でした。

神君の旗印の元、公認の金貸し

当道座による金貸しは古くから行われていたとみられます。「日本盲人史考」(米子今井書店刊)などによると、家康が江戸に幕府を開いた際、家康とは旧知の間柄だった時の惣検校・伊豆円一が祝儀のため訪問しました。その折、家康から古来の当道の格式などが従前の通りに認められました。幕府は当道座に対して、①自治を許し、死罪や遠島などの重罪までの裁判権を持たせた②租税、労役の義務の免除③検校、勾当などの制度を公認し、その売官による金銭や、諸種の運上金を座中で配分することを許容④これらの当道が得た金銭を官金と称し、金貸業を営むことを許したーーといいます。生活に困窮しがちな障害者に対する福祉対策という側面があったのでしょう。

「わたしはただ、徳川の世をまもりたいだけの者にございます」と意次。渡辺謙さん、圧巻の演技でした

幕府を悩ませた高利貸し、根深い背景

当道座による高利貸しはその後、たびたび社会問題化し、幕府を悩ませました。元禄15年(1702年)には金銀訴訟に関する法令が出され、正徳2年(1711年)には座頭の官金について取り締まる法令が出されています。が、効果はあまりなく、結局今回の鳥山検校らに対する摘発にエスカレートしました。

意次の迫力に、思わず言葉を失った松平武元(石坂浩二さん)

田沼意次(渡辺謙さん)が指摘したように、根本には「己の旗本すら養えなくなっている将軍家」という、統治システムの問題がありました。「米の値段が下がる一方。昔のままのやり方で旗本八万騎を養おうというのは土台無理」と意次。日々の生活にも困る武家は、借金するほかありません。高利貸し問題には、社会の変化や経済の発展に追いつけない幕藩体制の綻びが示されていたのです。

法外な暴利で富を築いた一部の検校たちが取り締まりを受けるのは無理もない展開でした。当時の文献には、通例の金利に不法な金利を上乗せし、厳しく取り立てもしていた鳥山検校の高利貸しの実態が記録されています。

とはいえ、高利貸しが摘発されたからといって武士たちの暮しが楽になるものではなく、あくまで対処療法に過ぎません。年々、幕府のかじ取りは難しくなる一方、という時代でした。大きな自然災害も待ち受けています。

為政者であることの厳しさに直面した家基。彼はどう動くのでしょうか。

西の丸(家基)側の攻勢に苦しむ意次に助け船を出した一橋治済(生田斗真さん)。彼も不気味な笑みを浮かべます。怖いです。

伊達に𠮷原で遊んでいたわけではありません。市中に抱える豊富な人脈を生かし、捜査官として優秀なところをみせた長谷川平蔵(中村隼人さん)。幕府パートも役者が揃い、一気に緊迫してきそうな雲行きです。

偽板再び、苦境の鱗形屋

黄表紙の嚆矢『金々先生栄華夢』など、ヒットを飛ばして快調に見えていた鱗形屋。まさかの暗転でした。

「研究叢書 節用集と近世出版」(和泉書院)によると、鱗形屋が『新増早引節用集』の偽板に手を染めたのは安永6年(1777年)5月から同7年1月まで。安永4年(1775年)の時と全く同じ大坂の柏原屋制作の字引、『早引節用集』をひそかに作っていました。

こちらが「本物」の柏原屋の節用集
『早引節用集』,柏原屋与左衛門[ほか4名],天保7. 国立国会図書館デジタルコレクション https://dl.ndl.go.jp/pid/13391581
また、偽板でたくさんの本を売りさばいたのでしょうか

前回は須原屋の仲介で、版木や完成した本を差し出させる穏便な処置で済みましたが、今回はさすがに厳しい処分が下りました。直接、偽板を担当した従業員の徳兵衛の家財は闕所(没収)となり、江戸から十里四方追放に。主人の鱗形屋本人も過料20貫文の罰金刑。手代の与兵衛・次兵衛は手錠(100日間)、版木屋も同罪でした。

黄表紙で当たりを取っていた鱗形屋がなぜまた偽板に手を染めたのか。後世の研究者らも首をひねるところです。ドラマでは想像力豊かに伏線を張り、鱗形屋側の行状に説得力を持たせて巧みでした。

1つは富本節。鱗形屋は蔦重に「オレから盗んだ商いを返してくれないか」と憤懣やるかたない調子でした。彼の念頭には当時、一世を風靡していた富本節の「正本」があったでしょう。浄瑠璃の歌詞をまとめた本人公認の「直傳」です。ドラマでは鱗形屋が出版企画では先行していたものの、馬面太夫(寛一郎さん)の信頼を勝ち得た蔦重に攫われてしまいました。

馬面太夫(寛一郎さん)は、出版を懇願する鱗形屋に「蔦重を応援してやりたいんだ」

もうひとつは当道座に借金の証文が渡ってしまった、という設定。前述のように、貸した相手が民間の場合、「いかにも近所合壁へ聞るやうに悪口を並べ罵るなり。」が当道座の取り立ての手口。ドラマでも再現されました。客商売でこれをやられたら、客足は遠のくばかりでしょう。いずれにせよ鱗形屋、正念場を迎えました。

どうなる春町の才能

鱗形屋は落ち目が必至の情勢。となると、鱗形屋が抱えているアーティストたちはどうなるのか、が業界の関心の的になります。特にベストセラー作家の恋川春町(岡山天音さん)の帰趨が注目される事態になってきました。

春町が鱗形屋から刊行したばかりの黄表紙『辞闘戦新根ことばたたかいあらたらしいのね』が話題に。

恋川春町 画・作『辞闘戦新根 : 2巻』,[鱗形屋孫兵衛],[安永7(1778)]. 国立国会図書館デジタルコレクション https://dl.ndl.go.jp/pid/9892435
当時の流行語である「大木の切り口太いの根」「どら焼」「薩摩芋」「鯛の味噌ず」などが擬人化されて登場。「我々のお陰で草双紙が売れているのに、本屋の職人たちは我々を労おうともしない」と化物になって画工や版木屋などの職人を襲う、という奇想天外なお話。出版業界の舞台裏も垣間見える楽しさあふれるストーリーです。しかしよりによって鱗形屋の本では、売れ行きも芳しくなく勿体ない、という話に。

スター絵師で、もちろん出版業界の状況にも詳しい北尾重政(橋本淳さん)が「お前が版木を買い取って出し直せば?」と蔦重に水を向ける場面も。市中の版元との軋轢はありますが、蔦重の存在感が否応なく大きくなってきた、ということでしょう。義理堅く、蔦重には必ずしもよい感情を持っていない春町ですが、今後の動向には目を離せません。

山東京伝もいよいよ表舞台、次々スターが蔦重の元に

こちらも江戸時代を代表する才能です。北尾政演(古川雄大さん)。のちに山東京伝の名で知られることになる絵師であり、戯作者です。

北尾重政に絵を学び、その後、洒落本や黄表紙で徐々に頭角を現していくことになります。将来、蔦重にとっても重要なパートナーになります。

朋誠堂喜三二(尾美としのりさん)も含めて、キラ星の才能が次々と蔦重の元に集結し始めています。彼の出版活動のステージが、江戸全体を巻き込む形でもうひとつ上の次元に進むのも間もなくです。

(美術展ナビ編集班 岡部匡志)
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