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更新时间：2024-04-11 15:48
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少女椿（松井良彦 配音）的母亲死于重病，没有亲戚愿意收留这个可怜的孩子，于是，椿跟随着卖花时结识的戴帽子的绅士来到了名为“赤猫座”的马戏团中，在这座破败荒芜的马戏团里进行表演的，都是一些或是残疾或是古怪的“异人”们，在这里，椿悲惨的遭到了他们的凌辱，沦为众人的奴隶，过着苦不堪言的生活。
马戏团里新来了一位能够将自己塞进狭窄玻璃瓶的侏儒魔术师，他的表演大受欢迎，很快就令快要倒闭的马戏团赚得盆满钵满，成为了老板眼中的聚宝盆。与此同时，椿和魔术师之间也产生了懵懂的感情，然而，就在两人决定双宿双飞之时，魔术师却遇见了意外一命呜呼。
长篇影评
1 ) Midnight Eye《午夜眼》对这部传奇地下动画的评论（转）
An old friend of mine and an avid collector of 16 and 35mm film prints follows a very strict regime when watching movies: "The celluloid must run through a projector in a theater with a big screen and a crowd, the way those movies were meant to be seen. Watching video copies of them on a couch at home doesn't count. It doesn't provide the true experience of the work in question. You can't say that you have seen a film if you've just watched a video of it."
This is fair enough for most films. But Hiroshi Harada, the director of Shojo Tsubaki (let's stay with the original title for the time being) sets the bar much, much higher. He doesn't even allow his film to be shown in movie theaters in Japan, yet alone let them be consumed on video or DVD.
For his screenings, he created incredibly elaborate "freak show" events which encompass live theater, live music, acrobatic acts, wild stage settings, freaky characters let loose on the audience... and a lot of secrecy. His flyers announcing shows and even those looking for performers were deliberately confusing - nobody was supposed to know what was really going on. In the early years, which means the early 1990s after the film's premiere in 1992, he wouldn't even want anyone to know what kind of show Shojo Tsubaki was at all: a movie, an anime, live theater?
"It would have been not interesting if I had given all that info in advance." Harada wrote me in a recent e-mail. "I wanted surprise. The audience suddenly encountering something totally unexpected - that was the point."
Now, what is Shojo Tsubaki? Well, it's animated, it's on celluloid, it is about a poor young girl who lives a hard life in a freak show circus, and its scenes often switch from being extremely kawaii to extremely graphic, violent, and at times oozing into the territory of far-out sexual fetishism. Sex among disfigured freaks, eye-ball-licking, rape by a disgusting, diseased... it's all there. And yet, Midori, the main character, does find true love here... and then things turn violent again... You never know where the movie is heading. You can't even guess what dangers or pleasures might be coming Midori's way from one second to the next.
Shojo Tsubaki is set in the early years of the Showa emperor's reign, the late 1920s in the Western calender. The original inspiration for the film dates from around the same time: a kami shibai performance going under the same title. Kami shibai translates to 'paper play' or 'picture show' and it dates back to the middle ages. A storyteller would tell a fantastical story in busy market places or wherever else he could find an audience, illustrating his story with a series of drawings. Often, his story was written on the back of the cardboards displaying the pictures to make it easier to do the performance and also to enable the storyteller to sell copies of his act afterwards.
Shojo Tsubaki (which literally means Camelia Girl) is said to have been originally created by a legendary kami shibai performer from the 1920s working under the name Seiun. It was a lengthy performance back then, consisting of 21 chapters and lasting for several hours. One of those original sets of pictures still survives and the play actually has been performed at times as part of the Shojo Tsubaki film events.
The paper play tells the story of a poor family whose father went too far into gambling debts. He runs away and lets the others fend for themselves. Midori, his daughter, goes into the business of flower selling. It's a sad job and one day she is kidnapped by two men and sold to a travelling girl's revue theater where she performs under the name Tsubaki Midori.
In the early 1980s, underground manga artist Suehiro Maruo began to turn the old kami shibai into one of his own disturbing picture stories. The earliest evidence I could dig up was in his 1982 book Das Ungetum der Rosenstck in which the beginning of his unique take on the Midori story is shaping up. The title of the book is of course some sort of flawed German. Though his grasp of the language might have been lacking, Maruo was deeply influenced by 1920s German expressionism and his heroes were Nosferatu, Marlene Dietrich and Doctor Caligari. They all figure prominently in the book - and the drawing style is a fascinating mix of Weimar German influences and vintage Japanese. Truly mesmerizing stuff.
In 1984, Maruo eventually had his final book-length manga of Shojo Tsubaki out in the stores. As already outlined in his Shojo Tsubaki chapter of Das Ungetum, the old kami shibai became now something new altogether... a full blown girl-in-the-freakshow story freely mixing cuteness, violence, perversity and a painstaking accuracy in the depiction of 1920s Japan and its outlaw characters to mindblowing impact.
Enter Harada. He was a young overworked pen-and-inker in the animation industry in 1970's Japan and he hated it. He realized that artistic ambition and the need to sustain oneself had always been a great conflict artists had to fight out with themselves ... but the animation industry didn't even give him the freedom to choose one or the other. The boss told the guys on the drawing boards what to do and they just had to hurry on with their mindnumbing work. He wanted out of the system and he did manage eventually to get out. He quit his job and premiered his first independent animated production City Nocturne in 1979. In 1985, he had 2 new animated works ready for release: Eternal Paradise (Kagirinaki Rakuen) and Lullaby to the Big Sleep (Nido to Mezamenu Komori Uta). The latter, shot on Super 8 and 27 minutes long, told of the adventures of a young boy getting sucked into the violent demonstrations held by leftist groups resisting the construction of Narita Airport. It played the Pia Film Festival in Tokyo, the main showcase for young Japanese independent cinema. Jury member and punk / biker movie director Sogo Ishii loved it and thanks to his lobbying, Harada won a major festival award.
Lullaby had already strong Maruo-esque tendencies: an unpredictable, sexually-charged story, experimental techniques and a main character who underwent a wide variety of forms of bizarre abuse. Even the drawing style appears to be heavily inspired by Maruo. So it seems almost logical that Harada choose a real Maruo as his next project: Shojo Tsubaki.
Knowing that this would demand much bigger resources than his previous films, he went back to the studios and tried to find financing. None was to be found at all. The subject matter of Maruo's book simply scared all potential investors away. Undeterred, Harada sacrificed his life savings, even went to money lending outfits to keep going. Maruo himself had told him "to make the film any way he wanted", as Harada told me. They did stay in close contact during the production period, though, with Maruo providing readings of old-fashioned kanji he had used in his book, advising on what colors to use for scenes and otherwise providing a great influx of ideas - some of which Harada then used. Maruo also lent his original source material to Harada, photo books on Tokyo of the period for example.
Harada started the great work in 1987 - and then continued drawing for 5 years, all by himself. Every single image of the movie was drawn by just one man alone! Harada did however receive a great deal of volunteer support from the Tokyo underground scene of the time for the final completion of his work: from musicians who provided the soundtrack, animators, people at independent documentary film studios, theater groups, even S/M clubs.
In 1992, the premiere of Shojo Tsubaki was held as a giant spectacle in a red tent on the grounds of Mitake Jinja, a Tokyo Shinto Shrine. Amidst strange decorations and exhibits, undergound theater group Aka Neko Za (Red Cat Theater) staged acts which are also performed by the freaks in the movie, and smoke was blown into the audience.
Here's what was projected onto the big screen: To a collage of violent freak show images, an announcer screams out what kind of an incredible story the audience is about to witness - in rhyming vintage carney lingo which almost no young Japanese would be able to understand. Then Midori, a poor girl about the age of 12, selling flowers in 1920s Tokyo. One of her regular customers is a strange man she calls "Mister Bowler Hat" due to the hat he wears. One night, she comes back home and finds her mother dead in her bed, rats already feading on her corpse. She runs away... With nowhere to go she turns to "Mr. Bowler Hat", who turns out to be a freak show impressario going under the name of Mr. Arashi. She joins his travelling circus... and right from the beginning becomes the focus of endless abuse by the real freaks, grotesquely disfigured perverts with bizarre fetishes and giant egos to boot. Relief comes in the form of Wonder Masanitsu, a magician who can squeeze his entire body through the tiny opening of a glass bottle. She falls in love with him but Masanitsu has powerful dark sides too...
It's an animation film, for sure, but the animation is extremely limited. In many instances, it's just a series of drawings, held together by music and dialogues... a modern-day kami shibai. Which of course is quite fitting to the origins of the tale and the time it takes place in.
More screenings of the film followed in rapid succession. Harada himself developed a new modus operandus of screening the work which made it even more difficult to access: he handed audience members who had made a reservation a map of a residential neighborhood. The people had to follow cryptic signs like dolls placed on street corners or folks in strange attire standing by the street to evenutally find an unassuming building and enter its basement. There they were handed candles and had to make their way through a dark labyrinth of corridors and rooms before they could enter the actual venue. Couples were separated, smoke was blown in, fans blew paper snippets resembling cherry blossom petals. While the film ran, theater group members threw objects at the audience that were also thrown around on screen...
In 1994, the film had its international premiere at the Orleans Biennale in France. It has since been shown at a number of Western festivals under a variety of titles like The Girl in the Freak Show or Midori - The Girl in the Freak Show, though without any of the trappings that come with the film in Japan. Harada wouldn't have been able to stage anything similar in a foreign country. The Japanese shows were difficult enough to arrange. Still, Midori stood her ground up on the Western screens, despite being all alone with the vicious freaks in the movie and the quiet lurkers in the seats. Poor girl... so many cruel things have been done to her...
That the film is now available on DVD in France under the title Midori with subtitles in 5 European languages for private home viewing might be the worst abuse Midori ever encountered, though. At home in Japan, however, the film can still be seen only on the rare occasions of a real full-blown freak event, the way it was meant to be seen....
This is fair enough for most films. But Hiroshi Harada, the director of Shojo Tsubaki (let's stay with the original title for the time being) sets the bar much, much higher. He doesn't even allow his film to be shown in movie theaters in Japan, yet alone let them be consumed on video or DVD.
For his screenings, he created incredibly elaborate "freak show" events which encompass live theater, live music, acrobatic acts, wild stage settings, freaky characters let loose on the audience... and a lot of secrecy. His flyers announcing shows and even those looking for performers were deliberately confusing - nobody was supposed to know what was really going on. In the early years, which means the early 1990s after the film's premiere in 1992, he wouldn't even want anyone to know what kind of show Shojo Tsubaki was at all: a movie, an anime, live theater?
"It would have been not interesting if I had given all that info in advance." Harada wrote me in a recent e-mail. "I wanted surprise. The audience suddenly encountering something totally unexpected - that was the point."
Now, what is Shojo Tsubaki? Well, it's animated, it's on celluloid, it is about a poor young girl who lives a hard life in a freak show circus, and its scenes often switch from being extremely kawaii to extremely graphic, violent, and at times oozing into the territory of far-out sexual fetishism. Sex among disfigured freaks, eye-ball-licking, rape by a disgusting, diseased... it's all there. And yet, Midori, the main character, does find true love here... and then things turn violent again... You never know where the movie is heading. You can't even guess what dangers or pleasures might be coming Midori's way from one second to the next.
Shojo Tsubaki is set in the early years of the Showa emperor's reign, the late 1920s in the Western calender. The original inspiration for the film dates from around the same time: a kami shibai performance going under the same title. Kami shibai translates to 'paper play' or 'picture show' and it dates back to the middle ages. A storyteller would tell a fantastical story in busy market places or wherever else he could find an audience, illustrating his story with a series of drawings. Often, his story was written on the back of the cardboards displaying the pictures to make it easier to do the performance and also to enable the storyteller to sell copies of his act afterwards.
Shojo Tsubaki (which literally means Camelia Girl) is said to have been originally created by a legendary kami shibai performer from the 1920s working under the name Seiun. It was a lengthy performance back then, consisting of 21 chapters and lasting for several hours. One of those original sets of pictures still survives and the play actually has been performed at times as part of the Shojo Tsubaki film events.
The paper play tells the story of a poor family whose father went too far into gambling debts. He runs away and lets the others fend for themselves. Midori, his daughter, goes into the business of flower selling. It's a sad job and one day she is kidnapped by two men and sold to a travelling girl's revue theater where she performs under the name Tsubaki Midori.
In the early 1980s, underground manga artist Suehiro Maruo began to turn the old kami shibai into one of his own disturbing picture stories. The earliest evidence I could dig up was in his 1982 book Das Ungetum der Rosenstck in which the beginning of his unique take on the Midori story is shaping up. The title of the book is of course some sort of flawed German. Though his grasp of the language might have been lacking, Maruo was deeply influenced by 1920s German expressionism and his heroes were Nosferatu, Marlene Dietrich and Doctor Caligari. They all figure prominently in the book - and the drawing style is a fascinating mix of Weimar German influences and vintage Japanese. Truly mesmerizing stuff.
In 1984, Maruo eventually had his final book-length manga of Shojo Tsubaki out in the stores. As already outlined in his Shojo Tsubaki chapter of Das Ungetum, the old kami shibai became now something new altogether... a full blown girl-in-the-freakshow story freely mixing cuteness, violence, perversity and a painstaking accuracy in the depiction of 1920s Japan and its outlaw characters to mindblowing impact.
Enter Harada. He was a young overworked pen-and-inker in the animation industry in 1970's Japan and he hated it. He realized that artistic ambition and the need to sustain oneself had always been a great conflict artists had to fight out with themselves ... but the animation industry didn't even give him the freedom to choose one or the other. The boss told the guys on the drawing boards what to do and they just had to hurry on with their mindnumbing work. He wanted out of the system and he did manage eventually to get out. He quit his job and premiered his first independent animated production City Nocturne in 1979. In 1985, he had 2 new animated works ready for release: Eternal Paradise (Kagirinaki Rakuen) and Lullaby to the Big Sleep (Nido to Mezamenu Komori Uta). The latter, shot on Super 8 and 27 minutes long, told of the adventures of a young boy getting sucked into the violent demonstrations held by leftist groups resisting the construction of Narita Airport. It played the Pia Film Festival in Tokyo, the main showcase for young Japanese independent cinema. Jury member and punk / biker movie director Sogo Ishii loved it and thanks to his lobbying, Harada won a major festival award.
Lullaby had already strong Maruo-esque tendencies: an unpredictable, sexually-charged story, experimental techniques and a main character who underwent a wide variety of forms of bizarre abuse. Even the drawing style appears to be heavily inspired by Maruo. So it seems almost logical that Harada choose a real Maruo as his next project: Shojo Tsubaki.
Knowing that this would demand much bigger resources than his previous films, he went back to the studios and tried to find financing. None was to be found at all. The subject matter of Maruo's book simply scared all potential investors away. Undeterred, Harada sacrificed his life savings, even went to money lending outfits to keep going. Maruo himself had told him "to make the film any way he wanted", as Harada told me. They did stay in close contact during the production period, though, with Maruo providing readings of old-fashioned kanji he had used in his book, advising on what colors to use for scenes and otherwise providing a great influx of ideas - some of which Harada then used. Maruo also lent his original source material to Harada, photo books on Tokyo of the period for example.
Harada started the great work in 1987 - and then continued drawing for 5 years, all by himself. Every single image of the movie was drawn by just one man alone! Harada did however receive a great deal of volunteer support from the Tokyo underground scene of the time for the final completion of his work: from musicians who provided the soundtrack, animators, people at independent documentary film studios, theater groups, even S/M clubs.
In 1992, the premiere of Shojo Tsubaki was held as a giant spectacle in a red tent on the grounds of Mitake Jinja, a Tokyo Shinto Shrine. Amidst strange decorations and exhibits, undergound theater group Aka Neko Za (Red Cat Theater) staged acts which are also performed by the freaks in the movie, and smoke was blown into the audience.
Here's what was projected onto the big screen: To a collage of violent freak show images, an announcer screams out what kind of an incredible story the audience is about to witness - in rhyming vintage carney lingo which almost no young Japanese would be able to understand. Then Midori, a poor girl about the age of 12, selling flowers in 1920s Tokyo. One of her regular customers is a strange man she calls "Mister Bowler Hat" due to the hat he wears. One night, she comes back home and finds her mother dead in her bed, rats already feading on her corpse. She runs away... With nowhere to go she turns to "Mr. Bowler Hat", who turns out to be a freak show impressario going under the name of Mr. Arashi. She joins his travelling circus... and right from the beginning becomes the focus of endless abuse by the real freaks, grotesquely disfigured perverts with bizarre fetishes and giant egos to boot. Relief comes in the form of Wonder Masanitsu, a magician who can squeeze his entire body through the tiny opening of a glass bottle. She falls in love with him but Masanitsu has powerful dark sides too...
It's an animation film, for sure, but the animation is extremely limited. In many instances, it's just a series of drawings, held together by music and dialogues... a modern-day kami shibai. Which of course is quite fitting to the origins of the tale and the time it takes place in.
More screenings of the film followed in rapid succession. Harada himself developed a new modus operandus of screening the work which made it even more difficult to access: he handed audience members who had made a reservation a map of a residential neighborhood. The people had to follow cryptic signs like dolls placed on street corners or folks in strange attire standing by the street to evenutally find an unassuming building and enter its basement. There they were handed candles and had to make their way through a dark labyrinth of corridors and rooms before they could enter the actual venue. Couples were separated, smoke was blown in, fans blew paper snippets resembling cherry blossom petals. While the film ran, theater group members threw objects at the audience that were also thrown around on screen...
In 1994, the film had its international premiere at the Orleans Biennale in France. It has since been shown at a number of Western festivals under a variety of titles like The Girl in the Freak Show or Midori - The Girl in the Freak Show, though without any of the trappings that come with the film in Japan. Harada wouldn't have been able to stage anything similar in a foreign country. The Japanese shows were difficult enough to arrange. Still, Midori stood her ground up on the Western screens, despite being all alone with the vicious freaks in the movie and the quiet lurkers in the seats. Poor girl... so many cruel things have been done to her...
That the film is now available on DVD in France under the title Midori with subtitles in 5 European languages for private home viewing might be the worst abuse Midori ever encountered, though. At home in Japan, however, the film can still be seen only on the rare occasions of a real full-blown freak event, the way it was meant to be seen....
2 ) 无关重口，只是少女心与复仇
看了这么多影评，基本都在讲重口与猎奇，但是重口与猎奇并不足以支撑一部神作 重口和猎奇，我个人觉得更多的作用是使人设更加完整 第一次写影评不喜勿喷 看完少女椿的第一感觉是压抑，配色及配音的精神污染程度很高 关于结局，很多人是说大师带她走后被杀，但是我个人觉得是撕名片时，小绿已经在大师的机关上动了手脚，因此大师后来去表演时才迟疑然后大发雷霆，小绿从瓶子出来时，就已经身处幻觉之中 原因是这样的，大师告诉小绿瓶子的奥秘，但是如果是幻术的话，他是没有必要告诉小绿的，至于缩骨功，后来小绿被关到瓶子里已经证明了不是缩骨功。大师把小绿关进去，说明机关是在外面的，小绿从里面是无法打开的。 那为什么在大师对众人施完法以后，小绿咚的一下就出来了呢？ 我觉得她那个时候已经身处幻境 再说小绿这个人，是很矛盾的 如果真的是表面上看的，一个孤苦无依的小女孩为了生存去了马戏团然后惨遭虐待，上演一出中国祥林嫂靠谁谁倒见谁谁死的古代版死神小学生，那么为什么还要加入这么多不必要的情节与猎奇的画面？如果是这样，那这部剧为何被称为神作？就因为重口和猎奇？ 为什么妈妈死得老鼠都吃内脏了她才发觉了妈妈已经死掉的事实？ 为什么要在没有人烟的地方卖花？ 其实在大叔第一次找到她的时候，她就已经明白了深层的性意味，并且是接受这个事实的，说明了她并不纯洁 在众人叫她去擦歪头的身体时，她崩溃了，把抹布扔在他们脸上并且大叫怪物，这些怪物都曾经惨遭不幸，为什么她没有同情？而是把抹布一扔，然后自顾自地伤心难过？ 她睡在屋子里时，蛇女和男人啪啪啪，男人调戏小绿时，蛇女说:别管她，我一个人满足你们两个。 我觉得蛇女是在保护她，但是她并不领情，厌恶地跑开。可以说是知世故而自己也世故了。 在傍上大师之后，她再也不想干一点活，并且看着大师对他们颐指气使，她也是开心的 对于绷带男，她一直很抗拒，这一点我觉得她三观还是正的，在绷带男被杀后，她也表现出了更多是恐惧的感情 电影公司的人来以后，她对于那人描绘的生活充满憧憬，名片被撕后，对大师的眼神充满恨意与杀机 这就是少女的心，在光怪陆离的背景下，一颗少女的心被一次次粉碎，少女心指使她去杀了大师，少女心指使她投靠一开始的叔叔，少女心使她厌恶怪物，少女心使她在受到大师庇护后变成骄矜的大小姐 在见惯了绷带男和人妖这一系列怪人以后，一个有能力的侏儒，也成了她可以放纵少女心的对象，但是当有人给了她更大的少女幻想以后，她开始厌弃大师 然后这个故事就是关于复仇的了 在幻境里，大师让马戏团倒闭，为的是让她无家可归无路可走 大师让她梦回东京，是为了让她重拾对大师的依恋，来达到更好的报复效果 大师让所有人快乐地向她道别，让她置身樱花树下离别，让她依恋依赖他 然后再让她察觉 在三次见过同样的场景后，少女开始觉察到了 原来一切都是幻想 大叔杀了绷带男的方法，是让他被沙坑埋到窒息而死 但是对于小绿，这是诛心，一个少女的心被捧上天，然后狠狠摔碎 失望并不可怕，可怕的是希望曾经有多大 她以为她有了幸福的生活和众人的祝福，以为她的少女心得到了保护和实现 但是其实她一直都在瓶子里，从一开始，就没有出来
3 ) 她没爱过任何人，无法帮助到任何人
算得上神作，少女椿漫画中有个前篇，讲的是小绿的同学通过援交挣了不少钱，给小绿以启发。小绿是一个自理能力很差的人，无法面对生活的压力和挫折，既无法照顾生病的母亲，让她因为卫生问题受老鼠撕咬。也没办法保护自己，剧中我印象最深的是人妖和木乃伊，为什么不用自己的力量去反抗，就算是半夜打他们一顿也好啊，让他知道不是好欺负的。而侏儒魔法师就因为跟她有了冲突，就利用对她的信任去害他，可以说心机很深。实际上，她属于那种弱者，自己没有特别的才能，不断的需求帮助，利用自己可怜的样子和同情心获得别人的帮助，可是这个世界善良的人越来越少，她往往受到伤害，一旦有了转机却想要获得更高的地位。她没爱过任何人除了她自己。
4 ) 异色与禁忌同行
以前和编辑一起过讨论动动漫选题时，说到现在做的动漫题材几近泛滥，稍有名气的作者和作品，都在各大门户站个杂志都络绎不绝的刊登得不亦乐乎。再写也只是重复GOOGLE中的搜索作业而已。所以到了编辑大人223同志约我写漫画稿，问到我写什么好的时候，第一个反应就是，我写丸尾末广吧。
只不过，潮流而健康的时尚杂志，在动漫方面每期都会有一定的信息量给到读者，但我一来就写丸尾末广，不有点冒险吗？
异色与禁忌同行
——丸尾末广，挑战你的官能尺度的《少女椿》
如果阁下是作为某类型作品的读者，循序渐进地第增阅读深度，才会带来升级的快感，就以恐怖漫画为例，要看恐怖漫画，大可以从手塚治虫的恐怖短篇读起，再看犬木加奈子、御茶漬海苔，继而到伊藤润二，再来然后进阶到古屋兎丸、楳图一雄，最后才是丸尾末广……
但今天读到本文的单纯的你一开始接触的就至极的丸尾末广，实在有点恐怖得令人汗颜。
在3月底举行的29届香港国际电影节，丸尾末广的动画电影《地下幻灯剧画——少女椿》作为其中一部展示动画高调上映，一部被禁多年的作品能在香港这样的地方放出，都算一个异数。
《少女椿》作为丸尾末广一部重要的长漫画，讲就是异人的世界
大正时代，过着无助生活的纤弱少女阿绿，被异人杂技团收留，杂技团有着行为怪异的团长、大力巨人，截去双手的木乃伊男、阴险怪戾的蛇女、男扮女装的少年等，阿绿在团中先后不断被这些奇人异士人骚扰强暴，，就在她最痛苦之时，团中来了一名懂幻术的侏儒魔术师，他对阿绿的友好令二人产生爱意，使阿绿在裸露变态的杂技团中找到一丝的慰寂。
魔术师的加入令本来无人问津的杂技团变得人气旺盛，，在团中的地位也巩固起来，当阿绿以为自己找到真爱之时候，因爱意嫉妒的魔术师对团中侵犯过阿绿的成员尽行无情的报复……最后，在阿绿与魔术师打算离开杂技团时魔术师因意外被杀，以为可以摆脱过往一起重新开始的阿绿，猛然却发觉一切依然没变，她在天地间呼叫嚎哭，恶梦仍旧挥之不去……
易装男孩虐杀阿绿的小狗
异人们把小蛇放进阿绿的下体
阿绿每次看见火车驶过都追着挥手，希望离开这个地方
愤怒的魔术师用幻术把剧场无辜的观众变为异肉横流的地狱，十足一幅浮世绘
丸尾末广的有这么恐怖么？
如单纯地把丸尾末广推断为恐怖太便宜了他、归列为变态系又不能完全解构得当，丸尾末广作品风格强烈，题材全部涉及恐怖、异类、性禁忌、变态、殘暴、亂倫、性虐、恋童、飼育、肢解、、糞便、SM和各种花样的古怪异常行为。丸尾笔下，绝对在挑战阅读者的宫能极限。，但把这些变态元素运用得这么自如又不讨人厌的作者还是第一个，内容的过火位总不会成为故事发展的绊脚，从变态走向最原本的人格裸露的高潮的升华，自成一套的高超体系。
与别不同的作画风格
本人一直认为摒弃网纸是令一个作者成为大师的一个重要原因，熟悉漫画的人细想一下那些被尊崇的大师门，都是甚少用网纸的，丸尾也一样，他的画有很重的旧式广告插画风格，画面干净、清晰，在鲜明的黑白色调之间充满一种冷竣的优美，正是这种怪异残酷的笔触，在融合恐怖与性器之中让你目不暇接，把读者的深层意识钩现出来。
当你以为恐怖结束之时候，更真正恐怖和变态才刚刚降临。
但对主流读者他的确是太另类过分了，画面表现出的一切就已是为伦常所不容，但一个作家只依靠标榜自己的另类是不能成为被推崇和认同的对象的，丸尾自然有他过人的一套。元素都是外在的，而读者的冲击是内在的，画面的张力超越读者内心的挣扎，就和寺山修司的电影一样，处处充满异色和超越伦常色元素，在最后又把这些元素一一打破，再统一，再打破，叫读者在支离破碎的感观刺激中重新寻觅到自己的天空，当被画面把感官带到极处之时，把内心深处欲望彻底解放，把一切道德观念反向还原，只在掩卷之时才发现自己依然存在现实虚伪的世界中，轻叹一句，真他妈变态之余，回味已寻回隐末在童年的深层那一种蠢蠢欲动的“物神”情结，难以释怀。估计，爱看丸尾末广的大多是童年有过一些古怪经历的人……
丸尾末广
1956年1月28日、出生于日本長崎县的雲仙，1972年中学毕业后去了东京。辗转转换了各种不同类型的职业。
1980年11月以发表「リボンの骑士」初次登场，晋身为漫画家。除了作为漫画人外，在小说，杂志封面，挿画、海报， CD 、夹克等各式各样的领域当中都十分活跃。
20多年来陆续发表许多短篇作品，大部分后都集结成册由青林堂出版。同样被尊崇为恐怖大师的楳圖一雄，也是以画面的张力见称，有看《飄流教室》的人都知道楳圖一雄的恐怖功力，有传说楳圖一雄和丸尾末广本来是师徒，但楳圖觉得丸尾画的东西太过分了而不愿意承认关系，虽然这些传说一直没被正式确认，却更令丸尾末广的引人入胜。
异人经历的记忆
在记忆中有这样个事件。几岁的时候，（8几年）去看花瓶人头表演，简陋的场外搭建起的帐篷，走进室内，两边是木板宣传标语，在一个4、5米的高台上放了个一米多高的大花瓶，一个小姑娘模样的头放在花瓶上，只有头！看不到任何身体，脖子的位置放着一把古老的宝剑，剑穗长长地垂下，室内一把广播电台式的声音在介绍花瓶人头的故事，忽然间小姑娘开口说话，把许多人都吓了一大跳，我当时叮和小姑娘的脸，又害怕又好奇，心头一直被着一种迷惑与恐怖萦绕着……很久很久
只不过，潮流而健康的时尚杂志，在动漫方面每期都会有一定的信息量给到读者，但我一来就写丸尾末广，不有点冒险吗？
异色与禁忌同行
——丸尾末广，挑战你的官能尺度的《少女椿》
如果阁下是作为某类型作品的读者，循序渐进地第增阅读深度，才会带来升级的快感，就以恐怖漫画为例，要看恐怖漫画，大可以从手塚治虫的恐怖短篇读起，再看犬木加奈子、御茶漬海苔，继而到伊藤润二，再来然后进阶到古屋兎丸、楳图一雄，最后才是丸尾末广……
但今天读到本文的单纯的你一开始接触的就至极的丸尾末广，实在有点恐怖得令人汗颜。
在3月底举行的29届香港国际电影节，丸尾末广的动画电影《地下幻灯剧画——少女椿》作为其中一部展示动画高调上映，一部被禁多年的作品能在香港这样的地方放出，都算一个异数。
《少女椿》作为丸尾末广一部重要的长漫画，讲就是异人的世界
大正时代，过着无助生活的纤弱少女阿绿，被异人杂技团收留，杂技团有着行为怪异的团长、大力巨人，截去双手的木乃伊男、阴险怪戾的蛇女、男扮女装的少年等，阿绿在团中先后不断被这些奇人异士人骚扰强暴，，就在她最痛苦之时，团中来了一名懂幻术的侏儒魔术师，他对阿绿的友好令二人产生爱意，使阿绿在裸露变态的杂技团中找到一丝的慰寂。
魔术师的加入令本来无人问津的杂技团变得人气旺盛，，在团中的地位也巩固起来，当阿绿以为自己找到真爱之时候，因爱意嫉妒的魔术师对团中侵犯过阿绿的成员尽行无情的报复……最后，在阿绿与魔术师打算离开杂技团时魔术师因意外被杀，以为可以摆脱过往一起重新开始的阿绿，猛然却发觉一切依然没变，她在天地间呼叫嚎哭，恶梦仍旧挥之不去……
易装男孩虐杀阿绿的小狗
异人们把小蛇放进阿绿的下体
阿绿每次看见火车驶过都追着挥手，希望离开这个地方
愤怒的魔术师用幻术把剧场无辜的观众变为异肉横流的地狱，十足一幅浮世绘
丸尾末广的有这么恐怖么？
如单纯地把丸尾末广推断为恐怖太便宜了他、归列为变态系又不能完全解构得当，丸尾末广作品风格强烈，题材全部涉及恐怖、异类、性禁忌、变态、殘暴、亂倫、性虐、恋童、飼育、肢解、、糞便、SM和各种花样的古怪异常行为。丸尾笔下，绝对在挑战阅读者的宫能极限。，但把这些变态元素运用得这么自如又不讨人厌的作者还是第一个，内容的过火位总不会成为故事发展的绊脚，从变态走向最原本的人格裸露的高潮的升华，自成一套的高超体系。
与别不同的作画风格
本人一直认为摒弃网纸是令一个作者成为大师的一个重要原因，熟悉漫画的人细想一下那些被尊崇的大师门，都是甚少用网纸的，丸尾也一样，他的画有很重的旧式广告插画风格，画面干净、清晰，在鲜明的黑白色调之间充满一种冷竣的优美，正是这种怪异残酷的笔触，在融合恐怖与性器之中让你目不暇接，把读者的深层意识钩现出来。
当你以为恐怖结束之时候，更真正恐怖和变态才刚刚降临。
但对主流读者他的确是太另类过分了，画面表现出的一切就已是为伦常所不容，但一个作家只依靠标榜自己的另类是不能成为被推崇和认同的对象的，丸尾自然有他过人的一套。元素都是外在的，而读者的冲击是内在的，画面的张力超越读者内心的挣扎，就和寺山修司的电影一样，处处充满异色和超越伦常色元素，在最后又把这些元素一一打破，再统一，再打破，叫读者在支离破碎的感观刺激中重新寻觅到自己的天空，当被画面把感官带到极处之时，把内心深处欲望彻底解放，把一切道德观念反向还原，只在掩卷之时才发现自己依然存在现实虚伪的世界中，轻叹一句，真他妈变态之余，回味已寻回隐末在童年的深层那一种蠢蠢欲动的“物神”情结，难以释怀。估计，爱看丸尾末广的大多是童年有过一些古怪经历的人……
丸尾末广
1956年1月28日、出生于日本長崎县的雲仙，1972年中学毕业后去了东京。辗转转换了各种不同类型的职业。
1980年11月以发表「リボンの骑士」初次登场，晋身为漫画家。除了作为漫画人外，在小说，杂志封面，挿画、海报， CD 、夹克等各式各样的领域当中都十分活跃。
20多年来陆续发表许多短篇作品，大部分后都集结成册由青林堂出版。同样被尊崇为恐怖大师的楳圖一雄，也是以画面的张力见称，有看《飄流教室》的人都知道楳圖一雄的恐怖功力，有传说楳圖一雄和丸尾末广本来是师徒，但楳圖觉得丸尾画的东西太过分了而不愿意承认关系，虽然这些传说一直没被正式确认，却更令丸尾末广的引人入胜。
异人经历的记忆
在记忆中有这样个事件。几岁的时候，（8几年）去看花瓶人头表演，简陋的场外搭建起的帐篷，走进室内，两边是木板宣传标语，在一个4、5米的高台上放了个一米多高的大花瓶，一个小姑娘模样的头放在花瓶上，只有头！看不到任何身体，脖子的位置放着一把古老的宝剑，剑穗长长地垂下，室内一把广播电台式的声音在介绍花瓶人头的故事，忽然间小姑娘开口说话，把许多人都吓了一大跳，我当时叮和小姑娘的脸，又害怕又好奇，心头一直被着一种迷惑与恐怖萦绕着……很久很久
5 ) 少女心是个奇怪的念想，又可爱，又可恶。
在百度网盘积灰了三年的《地下幻灯剧画少女椿》终于在刚刚补完啦😵💫高中三年很少回家，前两年没带手机去学校，最后一年都在学习根本没时间看，久而久之就忘记这片子的存在[摊手]今天和妈妈看招魂3的时候无意间看到了少女椿的资源，于是就有了我现在这篇观后感👻
#地下幻灯剧画 少女椿##地下幻灯剧画少女椿#
可爱又邪恶的少女心。
这部冷门的作品影评少的可怜，而大部分的影评都在围绕着物欲横流纸醉金迷的世间和可怜的少女椿，而我并不这么认为。绿子是那个最可怕最邪恶的存在，同样也是那个最纯真的存在。也许这就是可爱又邪恶的少女心吧。
看完影评后我有好几个疑问点
1、为什么母亲的尸体被老鼠啃食后她才发现母亲死了呢？
2、绿子真的爱大师吗？绿子对大师是爱还是只是想有一个依靠？我相信，大师是爱着绿子的。最后死前落地时的那个苹果里椿永远都不会再回头的背影和回荡着的银铃般的笑声足以证明。但大师对绿子也是一种扭曲的爱，是一种带着小人物卑微的爱。戏团的人欺负绿子的时候，他制造了让椿变大的幻术。当绷带男调戏绿子时，大师强迫绷带男吃土最后弄死了他；当制片人邀请绿子拍戏时，大师直接生气的把名片撕碎…但绿子的三次的反应都是什么？惊吓，害怕，委屈甚至怨恨。大师在面对椿的这些反应又是什么？有人欺负你，不可以。有人接近你，那我除掉。甚至是当你有了更好的机会，我不接受。只可以做我希望你做的，接受我让你接受的，绿子的一切都要在大师的掌控下进行（我不要你觉得我要我觉得）而这些看似霸道的行为其实是卑微，小心翼翼的守护着绿子的“少女心”这是一种扭曲的爱。而绿子呢？在得知大师死后她尝试着一遍又一遍的冲出幻境，她觉得所有人都骗了她，用棍棒击打着所有的一切，她恨所有的一切，包括大师。大师其实是一个看破红尘的人，要不他也不会对观众说出“你们只不过是一群慵懒的懦夫而已”他深知道这个社会的潜规则，他想用自己的幻术把椿保护在“瓶子”里。用他的幻术制造一个又一个的骗局。
3、其实在老板第一次找到她的时候，老板买下了她的所有花，给她了个拥抱，并告诉绿子生活过不下去的时候可以去找他。那时隔着屏幕的我已经察觉到了浓浓性意味。绿子是知道并且接受这个事实的。她真的是纯洁的吗？
4、戏团的人叫她去擦歪头的身体时，她不愿意。她把抹布扔在歪头脸上并且大叫怪物，这些人遭遇了这么多的不幸，为什么她没有任何同情？
5、在傍上大师之后，她再也不想干一点活，并且看着大师对他们颐指气使，她是很开心的，可是到最后绿子要跟大师私奔时，能看出她对戏团，戏团对她的不舍，这是为什么？
6、对于绷带男，绿子刚开始很抗拒，但最后她不是也渐渐接受了吗？
7、影评最后循环了好几遍的场景，背着行李奔跑、打喷嚏这意味着什么？是重回现实？还是绿子一直沉浸在幻境之中没意识到现实？
有太多的疑惑与矛盾，但这往往更突出了作品的主题：人性。人性本是复杂的，难以捉摸的。
正是因为马戏团的每一个成员都是变态，变态的极其纯粹，淋漓尽致，极其裸露，甚至一丝不挂。可两个主角看起来都是再正常不过的了（在两人交融时影片刻画出的是毫无裸露，与“变态”们形成了鲜明的对比）。其实正常的人却各有各的变态。这个社会分为好几种人：带着希望生存的人，活在现实里的人，最活在幻想里的人。（这类人少数是思想的先驱者，大多数是精神病患者。）影片不就是在映射着生活里形形色色的人吗？只不过是用猎奇夸张以及暴力的手法更好的阐释了。绿子也许经历过这三种心灵的蜕变。最后她拿起了棍棒打破了幻境，里面有制造美好幻境的大师和她厌恶害怕但又珍惜的人。她变得现实了，她脱离了外在和精神的双重幻境。又或许她还依然活在大师制造出的瓶子里，一遍又一遍的用假象安慰着自己。也许，她一直都在瓶子里，从一开始，就没有出来。
少女心是个奇怪的念想，又可爱，又可恶。
写在最后：喜欢寒蝉鸣泣之时 another 暗芝居 地狱少女 尸鬼 伊藤润二作品的这类动漫的友友们！一定要去看看原片！会有不一样的感受！也欢迎大家在评论区写出自己的想法和我一起探讨以及这种类型影片的推荐！（少女椿another我有资源！🉑️私信我👻）少女椿在我心里可以算是大神级的神片，还有一些细节没有完善，有新的想法与观点后期会重新编辑与补充，深夜码字好累，不要吝啬手中的赞赞和关注！按一下嘛又不要钱[馋嘴]后期会不定期的更新影评，影片推荐。还有我自己的生活分享～好物推荐～你们的点赞与关注就是我最大的动力！
6 ) 为JA神样而来却被丸尾末广所倾倒
貌似刚开始是为了google神样的相关资料最后搜到了这个动画，56分钟的片子，天井桟敷解体后由J.A.Seazer接手的演剧实验室万有引力还有月蚀歌剧团都在里面，月蚀歌剧团也合作过寺山修司的作品，这一代人几乎都离不开寺山修司的说，三上宽那嘶哑的嗓音在呻吟，好讨厌==这里依旧是神样负责音乐，但实话说，效果并不是太好（黑线），果然寺山殿去世的打击，神样几年也没缓过来，失去了基友，消瘦的不成人形（大误）。
这个动画也没有宣传介绍的那么猛，一点也不重口（失望），动画制作也是要多简陋有多简陋=L=但多亏了这个噱头下载速度奇快。片子超现实，但跟重口的标准还有一大节距离，估计踩到标准后片子也就只能地下流通了。苦命少女追求幸福却屡遭失败，常见的故事用奇幻暴力情色的方式表现出来，在孩子面前赤裸裸的放着A片，大概就是这种调子吧。
做成动画后一点也燃不起来，传统幻灯剧模式虽然很有爱，但这里各种粗糙，漫画反而更带感，动画化后一点也不猎奇太打击人了，而且很简陋，完全比不上原画，虽然有神样的音乐，但不够味啦。音乐也像是从神样的工作室里随手捡来的糟糕货不良品，果然没了寺山乃就不行了吗0A0（严重大误）
作品原画是丸尾末广，他的漫画本身倒是十分重口，估计写介绍的那位亲知道丸尾末广立马就做出了判断，不过这个判断不太适用在动画上就是了，漫画的尺度要宽得多，画风也更能表现出丸尾的特色。
丸尾末广经历坎坷，画工超棒，喜好和风，尽管是血肉横飞的混乱场面，但笔锋干净，劲道十足，底下层赤裸裸的暴力、性、SM、不堪通通表现了出来，不看则罢，一看就停不下来，把人类最真实的一面解剖展示，极端但尖锐，虽然有些地方是既恶心又变态，秽物部分我无法接受，但暴力美学爱好者们都会成为他的脑残粉。老外特好这一口，许多作品早已有各国译本了=L=
复习了漫画后发现《少女椿》集中了丸尾的N多招牌模式，像舔眼珠、侏儒、畸形人、妖怪、马戏团等等，我更喜欢丸尾的插画，以妖怪为题的，以日本传说为题的，百看不厌，除了秽物，其他都很棒=w=现在想来，寺山修司的某些宣传画可能也是出自丸尾之手，感觉太像了，待考证吧。
另外，丸尾为纽约前卫犹太音乐家John Zorn 1990年著名专辑《Naked City》所绘的内页（好赞！！），而以日本古代著名的无惨绘作品《英名二十八众句》为蓝本创作的《新英名二十八众句》，更是屡获我的心，这画册已经绝版，现在只能在网上看看了（哭）。
片名：地下幻灯剧画－少女椿
导演: 絵津久秋
编剧: 原田浩
原作：丸尾末广
类型: 动画 / 剧情 / 恐怖 /
制片国家/地区: 日本
语言: 日语
上映日期: 1992
片长: 56 分钟
丸尾作品
单行本目录∶
《蔷薇色的怪物》 青林堂 1982.7.25
《梦的Q-SAKU》 青林堂 1982.12.25
《丸尾地狱》 (限定发行一千本) 青林堂 1988.8
《DDT》 青林堂 1983.11.25
《少女唾沫》 青林堂 1984.9.25
《KINRANDONSU》 青林堂 1985.9.1
《国立少年》 青林堂 1989.8.1
《丸尾末广.ONLY YOU》 东京成人俱乐部 1985.12.25
《臆想狂明星》 河出书房 1986.1.31
《残酷大全之堕胎》
动画作品：
《少女椿》
记于2012-04-05 17:26
这个动画也没有宣传介绍的那么猛，一点也不重口（失望），动画制作也是要多简陋有多简陋=L=但多亏了这个噱头下载速度奇快。片子超现实，但跟重口的标准还有一大节距离，估计踩到标准后片子也就只能地下流通了。苦命少女追求幸福却屡遭失败，常见的故事用奇幻暴力情色的方式表现出来，在孩子面前赤裸裸的放着A片，大概就是这种调子吧。
做成动画后一点也燃不起来，传统幻灯剧模式虽然很有爱，但这里各种粗糙，漫画反而更带感，动画化后一点也不猎奇太打击人了，而且很简陋，完全比不上原画，虽然有神样的音乐，但不够味啦。音乐也像是从神样的工作室里随手捡来的糟糕货不良品，果然没了寺山乃就不行了吗0A0（严重大误）
作品原画是丸尾末广，他的漫画本身倒是十分重口，估计写介绍的那位亲知道丸尾末广立马就做出了判断，不过这个判断不太适用在动画上就是了，漫画的尺度要宽得多，画风也更能表现出丸尾的特色。
丸尾末广经历坎坷，画工超棒，喜好和风，尽管是血肉横飞的混乱场面，但笔锋干净，劲道十足，底下层赤裸裸的暴力、性、SM、不堪通通表现了出来，不看则罢，一看就停不下来，把人类最真实的一面解剖展示，极端但尖锐，虽然有些地方是既恶心又变态，秽物部分我无法接受，但暴力美学爱好者们都会成为他的脑残粉。老外特好这一口，许多作品早已有各国译本了=L=
复习了漫画后发现《少女椿》集中了丸尾的N多招牌模式，像舔眼珠、侏儒、畸形人、妖怪、马戏团等等，我更喜欢丸尾的插画，以妖怪为题的，以日本传说为题的，百看不厌，除了秽物，其他都很棒=w=现在想来，寺山修司的某些宣传画可能也是出自丸尾之手，感觉太像了，待考证吧。
另外，丸尾为纽约前卫犹太音乐家John Zorn 1990年著名专辑《Naked City》所绘的内页（好赞！！），而以日本古代著名的无惨绘作品《英名二十八众句》为蓝本创作的《新英名二十八众句》，更是屡获我的心，这画册已经绝版，现在只能在网上看看了（哭）。
片名：地下幻灯剧画－少女椿
导演: 絵津久秋
编剧: 原田浩
原作：丸尾末广
类型: 动画 / 剧情 / 恐怖 /
制片国家/地区: 日本
语言: 日语
上映日期: 1992
片长: 56 分钟
丸尾作品
单行本目录∶
《蔷薇色的怪物》 青林堂 1982.7.25
《梦的Q-SAKU》 青林堂 1982.12.25
《丸尾地狱》 (限定发行一千本) 青林堂 1988.8
《DDT》 青林堂 1983.11.25
《少女唾沫》 青林堂 1984.9.25
《KINRANDONSU》 青林堂 1985.9.1
《国立少年》 青林堂 1989.8.1
《丸尾末广.ONLY YOU》 东京成人俱乐部 1985.12.25
《臆想狂明星》 河出书房 1986.1.31
《残酷大全之堕胎》
动画作品：
《少女椿》
记于2012-04-05 17:26
7 ) 满分，但是不想再看第二遍
丸尾末广大神的原作漫画改编，以下资料摘自百度百科：
《地下幻灯剧画——少女椿》作为丸尾末广一部重要的漫画，讲的就是异人世界，大正时代，过着无助生活的纤弱少女阿绿，被异人杂技团收留，杂技团有着行为怪异的团长，大力的巨人，截去双手的木乃伊，阴险怪戾的蛇女、男扮女装的少年，脖子很长的畸形男等，阿绿在团中先后不断被这些奇人异士骚扰强*，就在她最痛苦的时候，团里来了个懂幻术的侏儒西洋魔术师， 他对阿绿的友好令两人相爱，使阿绿在裸露变 态的杂技团找到一丝慰籍。魔术师的加入令本来无人问津的杂技团变的人气旺盛，在团中的地位也巩固起来，当阿绿 以为自己找到真爱的时候，因爱嫉妒的魔术师对团中侵犯过阿绿的成员进行报复……最后，在阿绿与魔术师准备离开杂技团时，魔术师意外被杀死。以为可以摆脱过 往一宜重新开始的阿绿，猛然却发觉一切依然没变，她在天地间呼叫嚎哭，噩梦却旧挥之不去……
导演绘津久秋花了五年时间为其绘制胶片,并与1992年正式完成此怪诞大作，制作完毕的《少女椿》随后 被带到海外参加影展,岂料回国经过日本海关的时候即被查禁。丸尾末广首先于1984年绘成的异人SM凄绝漫画，其原版胶片拷贝悉数被海关没收并销毁,此片 也随即遭到全国禁播。
对于我这样的初级猎奇爱好者，这段百科介绍已经足够吸引人了，再加上之前《無惨絵·英名二十八衆句》里对丸尾末广就已经产生浓厚兴趣了，之后在贴吧也看了几部他的短篇漫画作品。虽然题材猎奇，但是画风却极为细腻唯美，不像某些为了猎奇而猎奇的漫画一样纯粹满足视觉需求。
说说主题，天真少女误入魔窟惨遭迫害的故事不知道为什么让我联想到了《三毛流浪记》囧 不过在丸尾末广笔下的这个“旧社会”才是真正的黑暗+重口。阴冷的色调和冷清的场景暂且不说，光是异人杂技团中的各种怪人：蛇女，没手的绷带男，畸形人，变态伪娘等等都足以让人觉得压抑，而那些前来观赏的有如潮涌观众又是否反应了的猎奇取向其实存在于每个人心中？虽说本片有着恐怖、异类、SM、变态、殘暴等等名号，但实际画面对我个人而言还是可以接受的（也许是我口味太重了）绿子和侏儒魔术师相爱的部分可以说是全片最温馨的时刻了。但是悲剧的结局注定绿子最终还是一个人流落在这个残酷的世（di）界（yu）上，连唯一喜欢过的人都无法在一起，哪怕他是一个怪人呢。
总之，这是一部虐心更胜于猎奇的片子，你甚至可以当做爱情片来看，画质就不要纠结了，模糊残缺的画面才符合这部地下短片的风格不是吗。有人说原作漫画更胜一筹，我特意看完了漫画，动画还是非常良心地还原原作的精髓的，当然不急丸尾原画那么细腻啦。对于猎奇向动画有兴趣的同学还是推荐一试吧。
《地下幻灯剧画——少女椿》作为丸尾末广一部重要的漫画，讲的就是异人世界，大正时代，过着无助生活的纤弱少女阿绿，被异人杂技团收留，杂技团有着行为怪异的团长，大力的巨人，截去双手的木乃伊，阴险怪戾的蛇女、男扮女装的少年，脖子很长的畸形男等，阿绿在团中先后不断被这些奇人异士骚扰强*，就在她最痛苦的时候，团里来了个懂幻术的侏儒西洋魔术师， 他对阿绿的友好令两人相爱，使阿绿在裸露变 态的杂技团找到一丝慰籍。魔术师的加入令本来无人问津的杂技团变的人气旺盛，在团中的地位也巩固起来，当阿绿 以为自己找到真爱的时候，因爱嫉妒的魔术师对团中侵犯过阿绿的成员进行报复……最后，在阿绿与魔术师准备离开杂技团时，魔术师意外被杀死。以为可以摆脱过 往一宜重新开始的阿绿，猛然却发觉一切依然没变，她在天地间呼叫嚎哭，噩梦却旧挥之不去……
导演绘津久秋花了五年时间为其绘制胶片,并与1992年正式完成此怪诞大作，制作完毕的《少女椿》随后 被带到海外参加影展,岂料回国经过日本海关的时候即被查禁。丸尾末广首先于1984年绘成的异人SM凄绝漫画，其原版胶片拷贝悉数被海关没收并销毁,此片 也随即遭到全国禁播。
对于我这样的初级猎奇爱好者，这段百科介绍已经足够吸引人了，再加上之前《無惨絵·英名二十八衆句》里对丸尾末广就已经产生浓厚兴趣了，之后在贴吧也看了几部他的短篇漫画作品。虽然题材猎奇，但是画风却极为细腻唯美，不像某些为了猎奇而猎奇的漫画一样纯粹满足视觉需求。
说说主题，天真少女误入魔窟惨遭迫害的故事不知道为什么让我联想到了《三毛流浪记》囧 不过在丸尾末广笔下的这个“旧社会”才是真正的黑暗+重口。阴冷的色调和冷清的场景暂且不说，光是异人杂技团中的各种怪人：蛇女，没手的绷带男，畸形人，变态伪娘等等都足以让人觉得压抑，而那些前来观赏的有如潮涌观众又是否反应了的猎奇取向其实存在于每个人心中？虽说本片有着恐怖、异类、SM、变态、殘暴等等名号，但实际画面对我个人而言还是可以接受的（也许是我口味太重了）绿子和侏儒魔术师相爱的部分可以说是全片最温馨的时刻了。但是悲剧的结局注定绿子最终还是一个人流落在这个残酷的世（di）界（yu）上，连唯一喜欢过的人都无法在一起，哪怕他是一个怪人呢。
总之，这是一部虐心更胜于猎奇的片子，你甚至可以当做爱情片来看，画质就不要纠结了，模糊残缺的画面才符合这部地下短片的风格不是吗。有人说原作漫画更胜一筹，我特意看完了漫画，动画还是非常良心地还原原作的精髓的，当然不急丸尾原画那么细腻啦。对于猎奇向动画有兴趣的同学还是推荐一试吧。
他说，我要去买点吃的，你在这里等我。 从此，就再也没有回来
……搬家时候发现有原盘，谁要？要的话我做个种子去，或者直接上传小组
忠于漫画原作，片尾曲[迷い子のリボン]嗲
地狱的无惨绘
丁酉. 嗯为什么找出这个片子看了？日本对变态、凶残的嗜好一直很一致统一呐。
日本就是这么变态啊啊啊啊啊
虽然没有怎么看懂，但是口味确实是重的。想对那些评价“这也算动画？！根本就是幻灯片”的人说，人题目头六个字就已经告诉你们是“地下幻灯剧画”了谢谢，而且这是人1992年的作品。
太揪心，哎
丸尾末广
诡异恶心的画风，这个恐怖幻术噢有点意思！
悲惨世界，人间地狱。
生而为人，对不起，所有痛苦都无比真实，而所谓幸福不过是幻相。程序如此，你服不服！
日本女性地位卑微，女孩和魔术师恋爱后却被限制自由失去选择权，欺凌禁锢性虐待是人们病了还是社会病了
幻术师爆发的那段不错
我不知道该怎么评星，吓到了但是没有想象中那么吓到。
恩，挺忠实，怪不得禁播
与其说动画，不如说动态漫画。据说导演絵津久秋穿着就像劳工，动画原本胶片在带出海外参加影展回来时被海关收缴销毁。
快速剪辑里内容量繁多，观看时最好不要眨眼，令人深陷的、宗教般的魔幻。探寻变态心理，谁比得过日本人！大师，是普通人即使努力、修满了“学分”也难以企及的。因为他们根本不在多数人的那个维度里。何谓“开窍”？我的理解是：开了新的维度。 未删节版。
荒诞、晦涩、重口味...透着极致绝望气息的映画。这部成人向动画看得人很压抑，根据丸尾末广1984年漫画改编，92年由絵津久秋制成动画，在日本都禁播的电影应该不言而喻了，你以为生活已经很糟糕了？其实它远远没有尽头，小绿在这个如同地狱一般的世界最后也只能沦为行尸走肉。倒是很期待真人版电影呢
还是有剧情的 真心觉得木乃伊男很帅....侏儒魔术师是荒木经惟变的么？