If you are born as a woman, you must have had some experiences that feel unfair, such as the heirs of the family are generally men, traditionally men are preferred, and customarily men are also men.
In a male society burdened with a long history and tradition of inequality, it is not necessary to say glass, it is simply a roof of steel. On the wall of the gender gap that is difficult to break and cannot compete, is there no feeling of gritting your teeth?
For women born in pear orchards and royalty, the situation is not very different. For example, Aiko, Shinobu Terajima, Kiho Matsumoto, etc., and of course, the protagonist of this time, Matsu Takako.
<h1 class="pgc-h-arrow-right" data-track="4" > smooth performing arts life</h1>
Since his teenage years, he has starred in TV dramas and stage plays, and has also starred in the movie "April Story". At the age of 20, he began to participate as a singer and participated in the Red and White Song Festival. No matter who thinks about it, it is "a big lady who is active in pear garden with a variety of talents, and a smooth acting life".
Society sought the feeling of "deep boudoir gold" and "children of a good family" for the early Matsu Takako. The manners are elegant and make people feel very cultured. Although there is no excess fat, the body type is moderately elegant, whether it is excessive weight loss desire or physical labor. For the older generation, who placed too much emphasis on etiquette and tradition, her appearance was indeed very pleasing.
In the TV series "Ancient Capital Love Song" (1997 · TBS), Asano plays a daughter who accidentally notices her mother (Hiroko Asano) in "The Appendix" and has a good intuition. The object of extramarital love is the old professor (Yamazaki Nu), who also has a serious and strong way to directly vent anger. Having said that, there is also a gentle side to protecting the mother from the violence and surveillance of her father (Tsuyoshi Naito), who suppresses her mother. This work depicts the "profession of a woman" from the perspective of a daughter through the mother's unruly behavior, and it is indeed the most suitable role for Takako Matsumoto at that time.
To digress, in the movie "Little Home", on the contrary, she plays the mother who secretly cheated, and if you watch it with this "Ancient Capital Love Song", you will have a deep feeling.
So, I remember a time when there were many roles that somehow played the role of a smoker, and it was also considered a symbol of the smoker. I think of the anti-smoking outpatient doctors I interviewed before and constantly impeached Takako Matsuko's face for "smoky face." I don't know if it's out of personal resentment or if I want to complain about the drawbacks of smoking TV dramas.
Matsuriko actually doesn't care to the audience whether she is a smoking enthusiast or not. If it's a smoker, smoke as much as you can. Rather than personal hobbies, I hope this is a society that pursues the nature of drama.
When you think of Takako Matsumoto after that, you usually think of "Long Love Jenny HERO", but the three works co-starring with Takuya Kimura have indeed increased their popularity.
<h1 class="pgc-h-arrow-right" data-track="12" > the sense of release that becomes the "woman in question."</h1>
Well, speaking of which, I actually had no interest in Matsu takako when I was young. Rather, as she grew older, Takako Matsumoto became more popular after establishing an independent personal office.
I'm afraid that in the movie "Confessions", when Matsuriko plays the mother who completes the revenge on her slain daughter, she has already mastered the magic of "sin", and there is also a feeling of liberation from the shackles of spells. In fact, the audience began to be attracted to the "wrong woman" and "problem woman" she played.
It's not so much a turnaround as it is that the cornerstone of Takako Matsukawa is Miwa Nishikawa's film "Two People Selling Dreams". The protagonist's husband (Sadao Abe), who is small, runs an unprecedented izakaya.
However, due to a fire caused by the small kitchen, the shop burned down. In stark contrast to the desperate and sullen Sand Island, he quickly began working at a Chinese shop. However, taking the opportunity of Sand Island and a regular guest woman (Suzuki Sadaba) spending the night together to get huge alimony, both of them get the story wrong. In short, couples conspire to carry out scams that deceive women into exploiting money.
In this work, Matsu Takako brilliantly performs "contrary to the pleasure of betraying her husband, jealousy and anger arise" and "the feeling of guilt that gradually becomes thinner". A delicate and surprising interpretation, there are no more famous ladies such as the Flower of The High Ridge and the Qianjin of the Deep Boudoir.