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－ 31 － 『刑事コロンボ』と競争社会アメリカ 高田 修平 TV Drama Series
ࠗฮࢥࣟࣥ࣎࠘➇த♫࣓ࣜ࢝ 㧗⏣ ಟᖹ TV Drama Series Columbo as Considered through the Competitive Society of America by Shuhei TAKADA 㸦Received October 31, 2011㸧 ABSTRACT American TV drama series Columbo was produced by NBC and broadcasted worldwide in 1970s. It generally had a good reputation among both domestic and foreign viewers. But was it similarly interpreted here in Japan as in the United States? Such a feeling of doubt occurred to me when I bought the recently published DVD edition of Columbo and watched it again after three decades interval without dubbing or Japanese subtitles. Columbo's 'English' talk with the murderers seemed to me surprisingly more straightforward than the one dubbed in by a Japanese actor. I don't deny that Columbo's behavior is really bizarre in many cases. His pretended forgetfulness and frequent references to his wife and many real or fictional relatives are useful tools for his pursuit of the wealthy and/or prestigious murderers. But our exclusive concern about his way of investigation, as clearly seen among many Japanese fans of Columbo, makes us blind to its other theme: a relationship show between Columbo and the murderers. Columbo 's thematic duality is suggested by its "inverted mystery form," a method of storytelling which makes viewers witness the murder scene at the outset. We are introduced to the murderers' motive for their crimes and follow the plot of investigation from the alternate viewpoints of Columbo and the murderers. The confrontation between Columbo and the murderers is not harsh. While Columbo despises some of the forty-five murderers in total, he feels sorry for those who are pushed into such cruel acts under highly competitive and stressful circumstances. We thus watch from both sides an extended and sometimes intimate relationship between the lieutenant and the murderers which cannot be summed up merely as an investigation of crimes. I would like to make clear in this paper that this unique feature of Columbo derives from its location in the competitive society of America. 1970 ᖺ௦ࡢࢸࣞࣅࢻ࣐ࣛࠗฮࢥࣟࣥ࣎࠘ ࣒࣭ࣜࣜࣥࢡࡢඹⴭ Stay Tuned (1981) ࡼ ࡢ⬮ᮏࢆ᭩࠸ࡓࣜࢳ࣮ࣕࢻ࣭ࣦࣞࣥࢯࣥ࢘ ࢀࡤࠊࡇࡢࢸࣞࣅࢻ࣐ࣛࡀไసࡉࢀࡓ 1970 ᖺ ௦ࡢ࣓ࣜ࢝ࢸࣞࣅᴗ⏺ࡣࠊࡅࡗࡋ࡚ഔసࡀ 1-1. ⥲ྜ⤒ႠᏛ㒊࣐ࢿࢪ࣓ࣥࢺᏛ⛉ᩍᤵ 㸫 㸫 ࠗฮࢥࣟࣥ࣎࠘➇த♫࣓ࣜ࢝ ⏕ࡲࢀࡿࡼ࠺࡞≧ἣ࡛ࡣ࡞ࡗࡓ 1)ࠋࢸࣞࣅࢻࣛ ᭩ ࡃ ๓ ࠊ Hitchcock's Mystery Magazine ࡸ ࣐ࡢไసࡣࣉࣟࢹ࣮ࣗࢧ࣮ࢆ୰ᚰ⾜ࢃࢀࡿࡀࠊ Playboy ࡞ࡢ㞧ㄅ▷⦅ᑠㄝࢆᢞ✏ࡋ࡚⏕ά㈝ ᙼࡣไస♫ࠊࢿࢵࢺ࣮࣡ࢡࠊฟ₇ತඃࠊど⫈⋡ ࢆ✌࠸࡛࠸ࡓࡀࠊࡑࡢ▷⦅ࡢࡦࡘ May I Come ࢆᕥྑࡍࡿ⫈⾗࡞ࠊࡉࡲࡊࡲ࡞ேࠎࡢᑐᛂ In ࠗฮࢥࣟࣥ࣎࠘ࡢཎᆺࡀぢࡽࢀࡿࠋࡑࢀࡣ ᪥ࠎ㏣ࢃࢀࠊ␒⤌ࡀࢫ࣒࣮ࢬไసࡉࢀࡿࡼ࠺ ⬮Ⰽࡉࢀ࡚ NBC ࡢ The Chevy Mystery Show ࡢ ㄪᩚࡍࡿࡢࡀࡏ࠸࠸ࡗࡥ࠸࡛ࠊ࡚ࡶ␒⤌ࡢ㉁ࢆ ᨺ㏦୍ᅇศࡢࢻ࣐ࣛ Enough Rope㸦60 ศ㸧࡞ Ẽࡍࡿవ⿱ࡣ࡞࠸ 2)ࠋ ࡾࠊḟࢧࣥࣇࣛࣥࢩࢫࢥ࡛ୖ₇ࡉࢀࡓᚰ⌮Ꮫ⪅ ࡇࡢࡼ࠺࡞≧ἣࡢ୰࡛ࠗฮࢥࣟࣥ࣎࠘ࡀዲホࢆ༤ࡋ ࡢ ഇ ࡋ ࡓ ጔ ẅ ࡋ ࢆ ᢅ ࡗ ࡓ ₇ Prescription: ࡓࡢࡣࠊ㉁ࡢ㧗࠸ࢸࣞࣅࢻ࣐ࣛࢆࡵࡊࡋ࡚ጇ༠ࡢ࡞࠸⬮ Murder ࡢྎᮏ᭩ࡁ࡞࠾ࡉࢀࡿࠋࡉࡽࣘࢽࣂ ᮏࢆ᭩ࡁ⥆ࡅ࡚ࡁࡓࣦࣞࣥࢯࣥࣜࣥࢡࡢຌ⦼ࡼ ࣮ࢧ࣭ࣝࢫࢱࢪ࢜ࡀࢸࣞࣅᫎ⏬ࡢ⬮ᮏࢆᤚࡋ࡚࠸ ࡿࠋࠗฮࢥࣟࣥ࣎࠘㛵ࡋ࡚ᮏ᱁ⓗ࡞ゎㄝ᭩ࢆⴭࢃࡋ ࡿ⪺࠸࡚ࠊேࡣ Prescription: Murder ࢆྠࡌ ࡓࢸࣞࣅࢥ࣒ࣛࢽࢫࢺࡢ࣐࣮ࢡ࣭ࢹ࢘ࢻࢪࢵࢡࡣࠊ ࢱࢺࣝࡢࡲࡲࢸࣞࣅࢻ࣐ࣛ᭩ࡁ࡞࠾ࡋ࡚ᥦ ࡑࡢⴭ᭩ The Columbo Phile: A Casebook (1988) ࡢ୰ ฟࡍࡿࠋሙ࡛ࢥࣟࣥ࣎ࢆ₇ࡌࡓ࣋ࢸࣛࣥತඃࢺ ࡛ேࡢຌ⦼ࢆḟࡢࡼ࠺ㄝ᫂ࡋ࡚࠸ࡿ 3)ࠋ ࣐ࢫ࣭࣑ࢵࢳ࢙ࣝࡢṚ࡛ࣆ࣮ࢱ࣮࣭ࣇ࢛࣮ࢡࡀᛴ 㑉௦ᙺᢤ᧻ࡉࢀࠊไసࡉࢀࡓࢸࣞࣅࢻ࣐ࣛࡀ At a time when the networks wanted the safe ᪥ 45 ᮏࡢࠗฮࢥࣟࣥ࣎࠘ࢩ࣮ࣜࢬࡋ࡚▱ࡽ entertainment of Gomer Pyle, ࢀࡿసရ⩌ࡢ➨㸯స┠࡞ࡿࠋ Lucy Show and The Beverly Hillbillies, Levinson and Link Prescription: Murder (1967) ࡣዲホࢆ༤ࡋࠊࢥ decided that television could and should have a ࣟࣥ࣎࠸࠺㢼ኚࢃࡾ࡞ฮࡀฟ₇ࡍࡿ≉␗࡞ special conscience. They became known for ᙧᘧࡢฮࢻ࣐ࣛࡀࠊど⫈⪅ᢠ࡞ࡃཷࡅධࢀ breaking new ground for the medium. (17) ࡽࢀࡓࡇࢆド᫂ࡍࡿࠋࡋࡋࠊࡇࢀࡣ࠶ࡃࡲ࡛ ࣃࣟࢵࢺ∧࡛ࠊࠗฮࢥࣟࣥ࣎࠘ࡢࢻ࣐ࣛࢩࣜ ࣦࣞࣥࢯࣥࣜࣥࢡࡀ᭩࠸ࡓࢸࣞࣅࢻ࣐ࣛࡢ⬮ᮏࡣࠊ ࣮ࢬࢆ NBC ࡽ⣙᮰ࡉࢀࡓࢃࡅ࡛ࡣ࡞࠸ࠋ Ꮫ⏕㦁ືࢆᢅࡗࡓ The World Is Watching (1969)ࠊྠᛶ Prescription: Murder ࡢᡂຌ࡛ẼࢆⰋࡃࡋࡓ ឡࢆᢅࡗࡓ The Certain Summer (1972)ࠊ㏨ஸࡋࡓර NBC ࡣࠊᗘฮࢥࣟࣥ࣎ࡢࣃࣟࢵࢺ∧ࡢ⬮ ኈࡢṚฮࢆᢅࡗࡓ The Execution of Private Slovik ᮏࢆࣦࣞࣥࢯࣥࣜࣥࢡ౫㢗ࡍࡿࠋࡑࡢ (1974) ࠊ㖠ᡤᣢࢆᢅࡗࡓ The Gun (1974)ࠊࢸࣞࣅࡢᭀ ேࡣࠗฮ࣐ࢡ࣮ࣟࢻ࠘࡞ࡢࢸࣞࣅࢻ࣐ࣛࡢ ຊࢆᢅࡗࡓ The Storyteller (1977)࡞ࠊ୍㈏ࡋ࡚ᙜ ⬮ᮏࡶᢪ࠼࡚ᡭ୍ᮼࡔࡗࡓࡢ࡛ࠊ㔝ᚰⓗ࡞ዪᘚㆤ ࡢ♫ⓗၥ㢟ࢆṇ㠃ࡽᢅ࠺⌮ᛶࡢ㧗ࡉࡀㄆࡵࡽࢀ ኈࡢኵẅࡋࢆᢅࡗࡓ᪂ࡋ࠸ࢻ࣐ࣛ Ransom for a ࡿࠋ ࠗฮࢥࣟࣥ࣎࠘࠾࠸࡚ࡶࠊᙜࡢࡢฮࢻࣛ Dead Man ࡢᵓࡔࡅࢆᥦ౪ࡋࠊ⬮ᮏࡢ⣽㒊ࡣ ࣐ࡀᯛ┠ತඃࡢὴᡭ࡞ࢡࢩࣙࣥࢆࡾ≀ࡋ࡚࠸ ࡢసᐙ௵ࡏ࡚ࡋࡲ࠺ࠋࡑࡢᚋࠊRansom for a ࡓࡢᑐࡋ࡚ࠊ㢼㔗ࡢ࠶ࡀࡽ࡞࠸ฮ≢ேࡢᑐヰ↔ Dead Man (1971) ࡢᡂຌ࡛ࠗฮࢥࣟࣥ࣎࠘ࡢ Ⅼࢆ⤠ࡾࠊᤚᰝࢆ㏻ࡋ࡚≢ேࡢෆ㠃ࢆ᥀ࡾୗࡆࡿᡭἲࠊ ࢻ࣐ࣛࢩ࣮ࣜࢬࡀỴᐃࡋࠊ➨㸯ࢩ࣮ࢬࣥ㸵సࡢ ࣋ࢺࢼ࣒ᡓதࡸ࢛࣮࢘ࢱ࣮ࢤ࣮ࢺ௳࡛♫ⓗ࡞㛵ᚰ ࣉࣟࢹ࣮ࣗࢫࢆᢸᙜࡋࡓࣦࣞࣥࢯࣥࣜࣥࢡ ࡢ㧗ࡲࡗࡓ⫈⾗ࡢዲホࢆ༤ࡋࡓᛮࢃࢀࡿࠋ ࡣࠊNBC ࡽ➨㸰ࢩ࣮ࢬࣥࡢࣉࣟࢹ࣮ࣗࢫࡶせ ㄳࡉࢀࡿࡀࠊேࡣࡑࢀࢆ᩿ࡗ࡚ࠗฮࢥࣟࣥ࣎࠘ 1-2. ࠗฮࢥࣟࣥ࣎࠘ㄌ⏕ࡢ⤒⦋ ࡢไసࡽ㝆ࡾ࡚ࡋࡲ࠺ࠋ ࣦࣞࣥࢯࣥࣜࣥࢡࡣࢸࣞࣅࢻ࣐ࣛࡢ⬮ᮏࢆ ⬮ᮏᐙࡀ㠀ᖖᏳᐃ࡞⫋ᴗ࡛ࠊ㐣ཤࡢᐇ⦼࡛ 㸫 㸫 㧗⏣ಟᖹ ୍㒊ࡢࢀࡗᏊసᐙࡔࡅࢆᅖ࠸㎸ࡴࢸࣞࣅᒁࡢ ࡉࢀࡓࠗฮࢥࣟࣥ࣎࠘ࡣẚ㍑ⓗ༑ศ࡞ไస㛫 ጼໃᑐᢠࡍࡿࡓࡵࠊࡢ⬮ᮏᐙࡣከࡃࡢࢆ ࢆ࠼ࡽࢀࡓࠋ ⣽ษࢀᘬࡁཷࡅࡊࡿࢆᚓ࡞ࡗࡓ≧ἣࡀࠊStay Tuned ࡢ࡞࡛௨ୗࡢࡼ࠺ㄝ᫂ࡉࢀ࡚࠸ࡿࠋ 1-3. ࣆ࣮ࢱ࣮࣭ࣇ࢛࣮ࢡࡢຌ⦼ ሙ࡛ Prescription: Murder ࡢࢥࣟࣥ࣎ᙺࢆ The "track record" syndrome results in many ₇ࡌࡓࢺ࣐ࢫ࣭࣑ࢵࢳ࢙ࣝ࠸࠺ 70 ṓ㏆࠸ shows vying for the talents of very few writers. ࢝ࢹ࣑࣮㈹ತඃࡀᛴṚࡋ࡚ࠊࢽ࣮࣮ࣗࣚࢡࡢࢠࣕ As soon as the new network schedule is ࣥࢢᫎ⏬ࡸࢸࣞࣅࢻ࣐ࣛᘚㆤኈᙺ࡛ฟ₇ࡋࡓ announced there is an instant mating dance as ⤒㦂ࡢ࠶ࡿࣆ࣮ࢱ࣮࣭ࣇ࢛࣮ࢡࡀࠊࣉࣟࢹ࣮ࣗࢧ television producers hurriedly attempt to "lock 㸫ࡢ࣮ࣦࣥࢢࡼࢀࡤࠕࡲ࠶ࡲ࠶ࡢࠖ㸦ཎᩥ up" one of the favored writers. But the writer ࡣ"passable"㸧௦ᙺࡋ࡚ࠊࢸࣞࣅࢻ࣐ࣛࡢࢥࣟ doesn't dare take only one assignment at a time. ࣥ࣎ᙺ㑅ࡤࢀࡿࠋࡋࡋᐇ㝿ᙺసࡾࢆጞࡵࡿ If he did---if he worked on his teleplay for a ࠊࣆ࣮ࢱ࣮࣭ࣇ࢛࣮ࢡࡢࡔࡽࡋ࡞࠸㌟ࡔࡋ࡞ࡳ month or so---he would discover when he ࡸ⩏║ࡼࡿወጁ࡞┠ࡘࡁࡣࠊࣦࣞࣥࢯࣥࣜ turned it in that all of his markets are closed. ࣥࢡࡢᥥࡃࢥࣟࣥ࣎ࡢᙺࡨࡗࡓࡾᙜ࡚ࡣ Knowing this, and recognizing that he cannot ࡲࡿࠋࣆ࣮ࢱ࣮࣭ࣇ࢛࣮ࢡ⮬㌟ࠊತඃࡋ࡚ࡢ༙ earn his yearly nut with just one script, the ⏕ࢆࡾ㏉ࡗࡓ⮬ఏ Just One More Thing (2006) free-lance ࡢ୰࡛ࠊࢥࣟࣥ࣎ฮᙺࡀࡲࡉ⮬ศࡢࡣࡲࡾᙺ writer often takes as many assignments as he can get. (75) ࡛࠶ࡿࡇࢆḟࡢࡼ࠺㏙ࡋ࡚࠸ࡿ 4)ࠋ ࢻ࣐ࣛసࡾࡢ୰ᚰ࡞ࡿࣉࣟࢹ࣮ࣗࢧ࣮ࡔࡅ࡛ In life I dress like a slob, so I knew I was going ࡞ࡃࠊ⬮ᮏᐙࡸತඃࡶࡅࡶࡕ࡛」ᩘࡢࢆࡑ to enjoy the ordinary side of Columbo since ࡢሙࡋࡢࡂࡇ࡞ࡋ࡚࠸ࡿࢸࣞࣅࡢไస⌧ሙ being ordinary comes easy for me. On the other ࡽࠊࠗฮࢥࣟࣥ࣎࠘ࡢࡼ࠺࡞㉁ࡢ㧗࠸ࢻ࣐ࣛࡀ hand, I'm also odd like the lieutenant. My mind ࡢࡼ࠺ࡋ࡚⏕ࡲࢀࡓࡢࠋ is off someplace. (135) ࡑࡢ⌮⏤ࡣࡘ⪃࠼ࡽࢀࡿࠋ➨୍ࠊࢻ࣐ࣛไ స㛵ࢃࡗࡓ」ᩘࡢࣉࣟࢹ࣮ࣗࢧ࣮ࠊ⬮ᮏᐙࠊತ ࢥࣟࣥ࣎ࡢ㠃ᛶࢆࣆ࣮ࢱ࣮࣭ࣇ࢛࣮ࢡࡣᛶ᮶ഛ ඃ࡞ࠊࡉࡲࡊࡲ࡞ேࠎࡀ᭱ึࡢ㸰స࡛☜❧ࡋࡓ ࠼࡚࠸ࡓࡽࡋ࠸ࠋࡕ࡞ࡳࠊࣦࣞࣥࢯࣥࣜࣥ ᚑ᮶ࡢฮࢻ࣐ࣛࡣࡅ㞳ࢀࡓࠗฮࢥࣟࣥ ࢡࡣ Stay Tuned ࡢ୰࡛ࠊࣆ࣮ࢱ࣮࣭ࣇ࢛࣮ࢡࡣ ࣎࠘ࡢ≉ᚩࢆࡼࡃ⌮ゎࡋ࡚༠ຊࡋࡓࡇࠋ≉ࠊ 㢌ࡢ࠸࠸ತඃ࡛ࠊ⬮ᮏࢆ᭩࠸ࡓ⮬ศࡓࡕྠࡌࡃ ࢻ࣐ࣛࡢࢫࢱࢵࣇࡀ┦ḟ࠸࡛ධࢀ᭰ࢃࡿ୰࡛ࠊ ࡽ࠸ࢥࣟࣥ࣎ࡢࡇࢆࠕ▱ࡾᑾࡃࡋ࡚࠸ࡓࠖ㸦ཎ ᙺࡋ࡚ࢻ࣐ࣛไస῝ࡃ㛵ࡋ⥆ࡅࡓࢥࣟࣥ ᩥࡣ"familiar with"㸧グࡋ࡚࠸ࡿ 5)ࠋ ࣎ᙺࣆ࣮ࢱ࣮࣭ࣇ࢛࣮ࢡࡢᏑᅾࡀࡁ࠸ࠋ➨ࠊ ⬮ᮏᐙ₇⏨ඃࡀసရࡢ⌮ゎࢆඹ᭷ࡍࡿࡇ ࠗฮࢥࣟࣥ࣎࠘ࡀࢩ࣮ࣜࢬࡉࢀࡿ㝿 ࡛ࠊࢻ࣐ࣛࡢไసࡀࢫ࣒࣮ࢬ㐍⾜ࡋࡓᛮࢃ McCloud ࡸ McMillan and Wife ࡞ࠊࡢ㸱ᮏ ࢀࡿࡶࡋࢀ࡞࠸ࡀࠊࣆ࣮ࢱ࣮࣭ࣇ࢛࣮ࢡࡣసရ ࡢࢻ࣐ࣛ⤌ࢇ࡛ The NBC Mystery Movie.ࢆᵓ ࡢ㉁㛵ࡋ࡚ጇ༠ࢆチࡉ࡞࠸ತඃ࡞ࡢ࡛ࠊ⬮ᮏ࡛ ᡂࡋࠊ㸲ᮏࡢࢻ࣐ࣛࡀẖ㐌௦࡛ᨺᫎࡉࢀࡓࡇࠋ ⣡ᚓ࡛ࡁ࡞࠸⟠ᡤࡀ࠶ࡿࠊไసࢫࢱࢵࣇᚭᗏ 㸲㐌㛫୍ᗘࡢไస࣮࣌ࢫࡼࡗ࡚ࠊࢩ࣮ࣜࢬ ⓗ㣗࠸ୗࡀࡗࡓࠋᙼࡢᖸ΅ࡣࢥࣟࣥ࣎ࡢᙺసࡾ 㸫 㸫 ࠗฮࢥࣟࣥ࣎࠘➇த♫࣓ࣜ࢝ ࡲࡽࡎࢻ࣐ࣛయཬࡧࠊ➨㸯ࢩ࣮ࢬࣥ㸵 ࢆ῝ࡉࡏࡿࠋ స┠ࡢ㔝ᚰⓗ࡞ᘓ⠏ᐙࡢẅேࢆᢅࡗࡓ Blueprint ࡑࡢᚋࡶ᪂ࡓ࡞⬮ᮏᐙࡸࣉࣟࢹ࣮ࣗࢧ࣮ࢆ㏄ for Murder (1972) ࡣࠊ၏୍ᙼࡢ┘╩ව₇࡛ไ ࠼࡚᭱ึࡢࢻ࣐ࣛసࡾከᑡಟṇࢆຍ࠼࡞ࡀࡽࠊ సࡉࢀ࡚࠸ࡿࠋ ࠗฮࢥࣟࣥ࣎࠘ࡣ㸵ࢩ࣮ࢬࣥ⥅⥆ࡉࢀࡿࠋࣆ࣮ ࣆ࣮ࢱ࣮࣭ࣇ࢛࣮ࢡࡢ㠀ጇ༠ⓗែᗘࡣࢻ࣐ࣛࡢ ࢱ࣮࣭ࣇ࢛࣮ࢡࡣࢥࣟࣥ࣎ᙺ࡛㸱ᗘ࢚࣑࣮㈹ࢆཷ ไసࢆ୰᩿ࡉࡏࠊไసࢫࢱࢵࣇⱞ③ࢆᙉ࠸ࡿࡇ ㈹ࡋࠊࢻ࣐ࣛࢩ࣮ࣜࢬࡣᨺ㏦㛤ጞࡽᩘᖺ㛫ᖖ ࡶ㢖⦾࠶ࡗࡓࡀࠊไస᪥ᩘࡸண⟬ࡢไ㝈ࢆᢲ ࢺࢵࣉࢸࣥ␒⤌ࡢ⨨ࢆ࣮࢟ࣉࡋࠊఱᗘࡶேẼࢼ ࡋࡘࡅ࡚ࡃࡿࢫࢱࢪ࢜ᑐࡋ࡚ࡶࠊᙼࡣసရࡢ㉁ ࣥࣂ࣮࣡ࣥࡢᗙ㍤࠸ࡓࠋࡑࡢ㛫ຓ₇⏨ඃ㸦By ࢆᏲࡿࡓࡵ㡹ᙉᢠࡋࡓࡢ࡛ࠊࡑࢀࡀไసࢫ Dawn's Early Light ࡛㝣㌷ᗂᖺᏛᰯᰯ㛗ࢆ₇ࡌ ࢱࢵࣇࡢࢻ࣐ࣛసࡾࢆᚋᢲࡋࡍࡿࡇ࡞ࡗࡓࠋ ࡓࣃࢺࣜࢵࢡ࣭࣐ࢡࢢ࣮ࣁࣥ㸧ࡸ⬮ᮏ㒊㛛ࡢ࢚࣑ ᙼࡢᢠࡀࡘ࠸ࢫࢺࣛ࢟Ⓨᒎࡋࡓࡢࡣࠊ➨ ࣮㈹ࡶཷ㈹ࡋࠊࠗฮࢥࣟࣥ࣎࠘ࡣ㧗࠸ேẼࢆ⥔ 㸯ࢩ࣮ࢬࣥ㸳స┠ࠊ⮬ศࡢ⏕άᖸ΅ࡍࡿᗈ࿌௦ ᣢࡋ࡞ࡀࡽ 10 ᖺᚋ␒⤌ࡀᡴࡕษࡽࢀࠊ The ⌮ᗑ♫㛗࡛ᐩࡢࢆẅᐖࡍࡿዪᛶࢆᢅࡗࡓ NBC Mystery Movie.࡛࠸ࡗࡋࡻ⤌ࢇࡔࡢࢻ Lady in Waiting (1971) ࡢไస୰࡛࠶ࡿࠋࡇࡢ ࣐ࣛࡣࡑࢀࡲ࡛ࡍ࡚ጼࢆᾘࡋ࡚࠸ࡓࠋ ௳ࡣ"Lady in Waiting War"ࡤࢀࠊ᭱⤊ⓗ ࠗฮࢥࣟࣥ࣎࠘ࡢேẼࢆ⪃៖ࡋ࡚ࢫࢱࢪ࢜ഃࡀ 2㸬ࠗฮࢥࣟࣥ࣎࠘ࡢ≉␗ᛶ ᢡࢀࠊࣆ࣮ࢱ࣮࣭ࣇ࢛࣮ࢡࡣࡼࡾ㧗㢠࡞ሗ㓘ไ ࢸࣞࣅࡢฮࢻ࣐ࣛసࡾࡢᖖ㆑ᚑ࠼ࡤࠊࠗฮ సண⟬ࠊไస᪥ᩘࡢᘏ㛗ࢆࡕྲྀࡗ࡚࠸ࡿࠋ ࢥࣟࣥ࣎࠘ࡣࣄࢵࢺ࡛ࡁࡑ࠺ࡶ࡞࠸せ⣲‶ࡕ ࣆ࣮ࢱ࣮࣭ࣇ࢛࣮ࢡࡣᙺࡢࢥࣟࣥ࣎ࢆ₇ࡌ࡞ ࡚࠸ࡿࠋࢡࢩࣙࣥࡀᑡ࡞ࡃࠊࢻ࣐ࣛࡣฮ ࡀࡽࠊไసࢫࢱࢵࣇࡢ┠⥺࡛ࢻ࣐ࣛసࡾࢆ⪃࠼࡚ ≢ேࡢᘏࠎ⥆ࡃᑐヰ࡛ᵓᡂࡉࢀࡿࠋࣉࣟࢵࢺ ࠸ࡓࠋࡑࢀࡣࣉࣟࢹ࣮ࣗࢧ࣮ࡸ⬮ᮏᐙࡀ┦ḟ࠸࡛ ࡣධࡾ⤌ࢇ࡛ࢃࡾࡎࡽ࠸ࠋࢻ࣐ࣛࡀጞࡲࡗ࡚ࡶ ධࢀ᭰ࢃࡿ࠸࠺ࠗฮࢥࣟࣥ࣎࠘ไసࡢ≧ἣୗ ᙺࡣ࡞࡞⌧ࢀࡎࠊࡸࡗ 20 ศᚋⓏሙࡋ ࡛ࠊ10 ᖺ㛫⥆࠸ࡓࢸࣞࣅࢻ࣐ࣛࢩ࣮ࣜࢬ୍㈏ᛶ ࡓᙺࡣᑠ࡛㌟࡞ࡾࡶࡔࡽࡋ࡞ࡃࠊࡍࡄᜥษࢀ ࢆ࠼ࡿࡓࡵࡁࡃ㈉⊩ࡋ࡚࠸ࡿࠋࣦࣞࣥࢯ ࡍࡿᣙ㖠ࡶᡴ࡚࡞࠸࣋ࢸࣛࣥฮࠋ௨ୖࡣࠊࢹ࢘ ࣥࣜࣥࢡࡣࠊᙼࡢຌ⦼ࢆḟࡢࡼ࠺ㄝ᫂ࡍࡿࠋ ࢻࢪࢵࢡࡀ The Columbo Phile ࡢ๓᭩ࡁ࡛ ᣦࡋࡓࠗฮࢥࣟࣥ࣎࠘ࡢ≉ᚩ࡛࠶ࡿ 6)ࠋ In our absence he gradually took over full ࡋࡋࡇࢀࡽࡢ≉ᚩࡣࠊࡴࡋࢁࡇࡢࢸࣞࣅࢻࣛ control. Producers came and went--six more ࣐ࡢ᪂ᛶࢆ♧ࡋ࡚࠸ࡿࠋࡲࡎ㠀ᭀຊᛶ࡛࠶ࡿࡀࠊ followed us over the years--but Falk was the ࠗฮࢥࣟࣥ࣎࠘ࢆࣁ࣓ࢵࢺࡸࢳࣕࣥࢻ࣮ࣛ࡞ constant, and in many ways this was beneficial. ࣓ࣜ࢝᥎⌮ᑠㄝࡢఏ⤫ࡽ㞳ࡋ࡚ࠊ࢞ࢧ࣭ࢡ He thought for better scripts, publicized the ࣜࢫࢸ㢼ࡢ≀㟼࡞"English drawing room series, murder mystery"㏆ࡅࡓࠋࣉࣟࢵࢺࡣฮࡢ and enriched and deepened his performance. (106) ࢡࢩࣙࣥ㢗ࡽࡎࠊฮ≢ேࡢᑐヰࢆ୰ᚰ ᒎ㛤ࡉࢀࡿࠋḟᙺࡀ࡞࡞Ⓩሙࡋ࡞࠸ࢻࣛ ࠗฮࢥࣟࣥ࣎࠘ࡢ᭱ึࡢ⬮ᮏࢆ᭩࠸ࡓேࡀ➨ ࣐ᒎ㛤࡛࠶ࡿࡀࠊෑ㢌 20 ศࡣ≢ேࡢẅᐖࢩ࣮ࣥ 㸯ࢩ࣮ࢬࣥࡢ⤊ཤࡾࠊࣆ࣮ࢱ࣮࣭ࣇ࢛࣮ࢡ ࡚ࡽࢀࠊ㏻ሗࢆཷࡅࡿࡲ࡛ࢥࣟࣥ࣎ࡣⓏሙࡋ ࡣ➨㸰ࢩ࣮ࢬࣥ௨㝆ࡢࢻ࣐ࣛไసࡢࡲࡉ᰾ ࡞࠸ࠋࡇࢀࡣࣦࣞࣥࢯࣥࣜࣥࢡࡀྲྀࡾධࢀࡓ ࡞ࡗ࡚ࠊ⬮ᮏ┠ࢆ㓄ࡾ࡞ࡀࡽࢥࣟࣥ࣎ࡢᙺసࡾ "inverted' mystery form"ࡤࢀࡿ࣑ࢫࢸ࣮ࣜ 㸫 㸫 㧗⏣ಟᖹ ᙧᘧ࡛ࠊ≢ேࢆ᭱ึど⫈⪅᫂ࡋ࡚ࡋࡲ࠺௨ drive a car as desperately in need of burial, but ୖࠊ⯆ࡢᑐ㇟ࡣࠕฮࡀ࠸ࡋ࡚ࡇࡢ≢ேࢆ in the interest of flavorful characterization we ᤕࡲ࠼ࡿࠖࡢ୍Ⅼ⤠ࡽࢀࡿࠋࡑࡢせ⣲ࡔࡅ࡛ deliberately chose not to be realistic. Our show ど⫈⪅ࢆ㸯㛫㸲㸮ศࢸࣞࣅࡢ๓࡛㔥࡙ࡅࡍ would be a fantasy, and as such it would avoid ࡿࡣࠊࣆ࣮ࢱ࣮࣭ࣇ࢛࣮ࢡࡀᣦࡍࡿࡼ࠺ࠊ the harsher aspects of a true policeman's ࠕࡍࡤࡽࡋ࠸ពእᛶࡀ࠶ࡗ࡚࠶ࡊࡸࠊࡋࡶࡶ life.(94-5) ࡗ ࡶ ࡽ ࡋ ࡉ ࡶ ࠶ ࡿ ࠖ 㸦 ཎ ᩥ ࡣ "delightfully unexpected, brilliant, and believable"㸧⬮ᮏࢆ⦎ ࢥࣟࣥ࣎ࡢࡳࡍࡰࡽࡋࡉࢆᙉㄪࡍࡿࡓࡵࡢ⾰ ࡽ࡞ࡅࢀࡤ࡞ࡽ࡞࠸ 7)ࠋ ࡸᑠ㐨ලࡣࠊᐇ㝿ࡢ㆙ᐹᐁࡣࡅ㞳ࢀ࡚࠸ࡿࠋ ≀㟼࡛⦓ᐦ࡞⬮ᮏࢆ㏻ࡋ࡚ᥥࢀࡿࡢࡣࠊࢥ ࡋࡋࣦࣞࣥࢯࣥࣜࣥࢡࡀࡇࡢฮࢻ࣐ࣛ ࣟࣥ࣎ฮ≢ேࡢᑐỴ࡛࠶ࡿࡀࠊࣦࣞࣥࢯࣥ ࡛✲ᴟⓗᥥ࠸࡚࠸ࡿ࠸ࡿࡢࡣ"fantasy"࡛࠶ࡾࠊ ࣜࣥࢡࡣࣘࢽ࣮ࢡ࡞ᑐỴࡢ⤌ࡳྜࢃࡏࢆࡗ "the harsher aspects of a true policeman's life" ࡚࠸ࡿࠋࡓࡃࡲࡋࡃ⏨๓ࡢ࣓ࣜ࢝ࡢఏ⤫ⓗฮ ࡛ࡣ࡞࠸ࠋ ࢻ࣐ࣛࡢᙺࡣ⛬㐲࠸ᐜㇺࡢࢥࣟࣥ࣎ᑐࡋ ࣇࣥࢱࢪ࣮ࡣክࡢୡ⏺ࢆᥥࡃࡇ࡛࠶ࡿ ࡚ࠊ≢ேࡣᘚㆤኈࠊ♫⤒Ⴀ⪅ࠊ㡢ᴦᐙࠊ⨾⾡ᢈ ࡀࠊࢹࢬࢽ࣮ᫎ⏬ࡢࣇࣥࢱࢪ࣮ࡀᏊࡶࡢክ ホᐙࠊ᭷ྡತඃࠊࢸࣞࣅࣉࣟࢹ࣮ࣗࢧ࣮࡞ࠊ ࢆᥥ࠸࡚࠸ࡿࡍࢀࡤࠊࠗฮࢥࣟࣥ࣎࠘ࡢࣇࣥ ࣓ࣜ࢝ࡢ➇த♫ࢆࡕᢤ࠸ࡓே≀࡛࠶ࡿࠋࡳࡍ ࢸࢪ࣮ࡣ࣓ࣜ࢝୰⏘㝵⣭ࡢࡓࡃࡲࡋࡉࢆ⨾ ࡰࡽࡋ࠸ࢥࣟࣥ࣎ࡀ㔠ᣢࡕࡢ≢ேࢆᤕࡲ࠼ࡿⅬ ࡍࡿࡓࡵࢃࢀ࡚࠸ࡿࠋᙼࡀ㔠ᣢࡕࡢ≢⨥ࢆᤚ ᨻⓗ࣓ࢵࢭ࣮ࢪࢆឤࡌྲྀࡗࡓᢈホᐙࡶ࠸ࡿ ᰝࡍࡿࠊࡕࡻ࠺ࡼ࠸ࢱ࣑ࣥࢢ࡛ᙼࡢጔࡸ࠾ ࡀࠊࡑࡢࡡࡽ࠸ࡣ࠶ࡃࡲ࡛ࢻ࣐ࣛᛶࡢ㏣ồ࡛࠶ࡿ ࡧࡓࡔࡋ࠸ᩘࡢぶᡉࡀゎỴࡢࣄࣥࢺࢆ࠼࡚ࡃ ࠊࣦࣞࣥࢯࣥࣜࣥࢡࡣ Stay Tuned ࡢ୰ ࢀࡿࠋࡑࢀࡀసࡾヰ࠺ࡣၥ㢟࡛ࡣ࡞࠸ࠋᙼ 8)ࠋࢥࣟࣥ࣎ࡀ➇த♫ࡢ⪅ࠊࡍ࡞ࢃࡕ ࡢᐙᗞ⎔ቃࢆࣇࣥࢱࢪ࣮ࡢ࣮࣋ࣝໟࡴࡇ ᐩ⿱ᒙᩛពࢆ♧ࡋ࡚࠸࡞࠸ࡇࡣࠊࡇࡢㄽᩥࡢ᭱⤊❶ ࡼࡗ࡚ࠊ୰⏘㝵⣭ࡢࡉ࠼࡞࠸ฮ㨱ἲࡢ⬟ຊ ࡛ゎㄝࡍࡿࠋ ࡀࡉࢀࠊࡇࡢࢻ࣐ࣛࡢពእᛶࡀ⏕ࡲࢀࡿࠋࣞ ⌧ᐇⓗࡳࢀࡤࠊࢥࣟࣥ࣎ࡢࡼ࠺࡞ࡳࡍࡰࡽࡋ ࣦࣥࢯࣥࣜࣥࢡࡣࠊࡑࡢⓗຠᯝࢆḟࡢࡼ࠺ ࠸ฮࡀᡯẼ↵Ⓨ࡞࣓ࣜ࢝♫ࡢ⪅ࢆᤕࡲ ゎㄝࡍࡿࠋ グࡋ࡚࠸ࡿ ࠼ࡿࡇࡣ࠶ࡾ࠼࡞࠸ࠋࡋࡋࡑࢀࡀ㐩ᡂࡉࢀࡿ Ⅼࠊࢥࣟࣥ࣎ࡢពእ࡞㠃ᛶ࠸࠺ࡇࡢࢸࣞࣅ We even decided never to show him at police ࢻ࣐ࣛࡢⓗࣇࢡࢩࣙࢼࣜࢸࡀ࠶ࡿࠋᙼࡣࡰ headquarters or at home; it seemed to us much ࢁࡰࢁࡢࢥ࣮ࢺࢆ╔࡚࣏ࣥࢥࢶࡢ㌴ࢆ㐠㌿ࡍࡿ more effective if he drifted into our stories from ࡉ࠼࡞࠸ฮ࡛࠶ࡿࡀࠊே୪ࡳࡣࡎࢀ࡚≢⨥ࢆႥ limbo. (95) ࡂࢃࡅࡿႥぬࢆᣢࡗ࡚࠸ࡿࠋࣦࣞࣥࢯࣥࣜࣥ ࢡࡀᣦࡍࡿࡼ࠺ࠊࡇࡢタᐃࡢ୰ࡶ⌧ᐇࡢฮ ฮࢥࣟࣥ࣎ࡢᛮ㆟࡞⬟ຊࡣࠊࢥࣟࣥ࣎ࡢᐙ᪘ ࡣ࠶ࡾᚓ࡞࠸࠸ࡃࡘࡢࣇࢡࢩࣙࢼࣜࢸ ࠸࠺ࠕᛀ༷ࡢୡ⏺ࠖࡽ⏕ࡲࢀࡿࠋࡑࢀࡣᙳ ࡀ㞃ࡉࢀ࡚࠸ࡿࠋ ࡍࡿ࣓࢝ࣛࡀධࡿࡇࡣ࡛ࡁ࡞࠸⚗᩿ࡢ㡿ᇦ࡛ ࠶ࡿࠋ We knew that no police officer on earth would be permitted to dress as shabby as Columbo, or 3㸬࣓ࣜ࢝ࡢ➇த♫ࡀ⏕ࢇࡔฮࢻ࣐ࣛ 㸫 㸫 ࠗฮࢥࣟࣥ࣎࠘➇த♫࣓ࣜ࢝ ࣓࡛ࣜ࢝ไసࡉࢀࡓከࡃࡢฮࢻ࣐ࣛࡣࠊ ࡕ࣓ࣜ࢝➇த♫ࡢࡦࡎࡳࢆၥ㢟ࡋ࡚࠸ࡿ ከே✀ከẸ᪘ࠊ⮬ື㌴♫ࠊಶே⩏ⓗ➇தཎ⌮ࠊ ࡢࡣ☜࡛࠶ࡾࠊࡑࡢⅬࣦࣞࣥࢯࣥࣜࣥࢡ ᕷሙ⤒῭୰ᚰࡢࣅࢪࢿࢫᅜࠊᕧ࡞࣓ࢹ⏘ ࡢ⌮ⓗព㆑ࡀࡇࡵࡽࢀ࡚࠸ࡿࠋ ᴗࠊ㒔ᕷࠊ⾗ᾘ㈝♫ࠊ㖠㯞⸆ࡢ≢⨥ࠊ㞳 ࣓ࣜ࢝➇த♫ࡢࡦࡎࡳࡣఱࠋ࣓ࣜ࢝ ፧ࡸッゴࡢከⓎ࡞ࠊ࣓ࣜ࢝♫ࡢᵝࠎ࡞≉ᚩ ♫ࡢ≉ᚩࢆ࠸ࡃࡘࡢ㡯┠ศࡅ࡚ㄝ᫂ࡋ࡚ ࡀᥥࢀ࡚࠸ࡿࠋࡋࡋࠗฮࢥࣟࣥ࣎࠘ࠊ ࠸ࡿࠗ␗ᩥ♫࣓ࣜ࢝࠘࠸࠺ᮏࡢ୰ࡽࠊ ≢ேฮࡢወጁ࡞⤌ࡳྜࢃࡏࡼࡗ࡚࣓ࣜ ࠗฮࢥࣟࣥ࣎࠘ࡢࢸ࣮࣐㛵ࢃࡿ࣓ࣜ࢝♫ ࢝♫ࡢ➇தཎ⌮ࢆ➃ⓗᙉㄪࡍࡿࢻ࣐ࣛࡣ ࡢၥ㢟Ⅼࢆᘬ⏝ࡋ࡚ࡳࡓ࠸ࠋ࣓ࣜ࢝ࡢ➇த⩏ ࡞࠸ࠋࡘࡲࡾẅே௳ࡢ≢ேࡀ࠸ࡎࢀࡶ➇த♫ 㛵ࡋ࡚ࠊⴭ⪅ࡣ㐣ᗘࡢ➇தࡽ⏕ࡲࢀࡿ♫ࡢ ࡢ⪅࡛ࠊ⬮ගࢆᾎࡧ࡞ࡀࡽ㑰ᬽࡽࡍேࠎ ⌮ࢆḟࡢࡼ࠺㏙ࡿ 9)ࠋ ࡛ࠊࣟࢫᕷ㆙ࡽὴ㐵ࡉࢀࡿ≢⨥ᤚᰝࡢฮࡣࠊ ᨾ㞀ࡋࡅࡓ㌴ࡽ࣮࣒࣍ࣞࢫ㛫㐪ࢃࢀࡿ᭹ ➇தࡣࠊ☜ಶࠎேࡢ⬟ຊࢆ᭱㝈Ⓨࡍࡿ ࡛㝆ࡾ࡚ࡃࡿࠊ࠸ࡶ࢚ࢫࢽࢵࢡ㢼ࡢᑠ࡞ ᶵࢆᥦ౪ࡋࠊ࣓ࣜ࢝♫άຊࢆ࠼ࡿࡀࠊ ⏨࡞ࡢࡔࠋࡕ࡞ࡳࠊࢥࣟࣥ࣎ฮࡣࢱࣜ⣔ ࡑࡢ༙㠃ࠊಶࠎேࡣ᩿➇தࡢᅽຊࡢࡶ࠶ ࡢタᐃࡔࡀࠊ₇ࡌ࡚࠸ࡿࣆ࣮ࢱ࣮࣭ࣇ࢛࣮ࢡࡣᐇ ࡾࠊࢫࢺࣞࢫ⥭ᙇࢆᙉ࠸ࡽࡿࠋ⤖ᯝࠊேࠎࡣ 㝿ࡣࣟࢩ⣔ࡢฟ㌟࡛࠶ࡿࠋ ேࡢ༠ㄪ࣭༠ຊࡼࡾࡶࠊಶࠎࣂࣛࣂࣛ࡞≧ែ ࡇࡢࢻ࣐ࣛࢆึࡵ࡚ぢࡓከࡃࡢᢈホᐙࡀࡑࡢ ࡛⏕ࡁࡿࡇ࡞ࡿࠋࣝࢥ࣮ࣝ୰ẘࠊᭀຊ≢⨥ࠊ ወጁ࡞タᐃᨻⓗ࣓ࢵࢭ࣮ࢪࢆឤࡌྲྀࡗࡓࠊ ᛶ≢⨥ࠊᐙᗞෆᭀຊ࡞ࡶࠊ࣓ࣜ࢝ࡀே㛫ே ࣦࣞࣥࢯࣥࣜࣥࢡࡣグࡋ࡚࠸ࡿࠋ 㛫ࡢ༠ㄪ࣭༠ຊࡼࡾࡶࠊே㛫ே㛫ࡢ➇தࢆ ඃඛࡍࡿ⤖ᯝ࡞ࡢ࡛࠶ࡿࠋ(149) Many critics found it an ever-so-slightly subversive attack on the American class system ࠗฮࢥ࡛ࣟࣥ࣎࠘ᢅࢃࢀࡿኵ፬ࠊᘵࠊ௰ in which a proletarian hero triumphed over the 㛫ྠኈࡢࡣࠊ⿱⚟࡞㝵ᒙࡢேࠎࡀ┤㠃ࡍࡿ effete the ࠕ᩿ࡢ➇தᅽຊࠖࡸࠕࢫࢺࣞࢫ⥭ᙇࠖࡼࡗ Establishment. But the reason for this was ࡚ࠊᬑ㏻࡞ࡽࡤ༠ㄪࡸ༠ຊ࡛ゎỴࡍࡁ㔠㖹ࢺࣛ dramatic rather than political. Given the ࣈࣝࡸ㛵ࢃࡿၥ㢟ࡀࠕᭀຊ≢⨥ࠖⓎᒎࡋ persona of Falk as an actor, it would have been ࡚ࡋࡲ࠺ࠋࡉࡽࠗ␗ᩥ♫࣓ࣜ࢝࠘ࡢⴭ⪅ foolish to play him against a similar type. (95) ࡀᣦࡍࡿࡼ࠺ࠊ㐣ᗘࡢ➇தព㆑ࡣ㐣ᗘࡢಶே and monied members of ⩏ࡘ࡞ࡀࡾࠊࡇࡢࢻ࣐ࣛࡢ≢⨥⪅ࡶࠕࡸࡳ ࡇࡢࢻ࣐ࣛࡢ≢ேฮࡢᑐỴࡣࠊ➇த♫ࡢ ࡃࡶಶேࡢᶒࡸᐖࡤࡾࢆ㏣ồࡋࠊ⮬ᕫࡢ 㝵ẁࢆ㥑ࡅୖࡀࡗࡓ㝵ᒙ㏵୰࡛㋃ࡳࡲࡗ ⾜ືࡢ㈐௵ࢆᅇ㑊ࡍࡿ⮬ᕫ୰ᚰⓗഴྥࠖ(96)ࢆ ࡓ㝵ᒙ㸦ᗢẸ㸧ࡢࢥࣥࢺࣛࢫࢺࡀ♧ࡉࢀࠊᚋ⪅ ᙉࡵࡿࡇ࡞ࡿࠋࠋ ࡀ๓⪅ࢆ㈇ࡍពእᛶࡀࢻ࣐ࣛࡢࡦࡘࡢ㨩ຊ ಶேࡢ➇தཎ⌮ᇶ࡙࠸ࡓ࣓ࣜ࢝ࡣࠊࠕᶵ ࡛࠶ࡿࠋࣦࣞࣥࢯࣥࣜࣥࢡࡀᣦࡍࡿࡼ࠺ࠊ ࡢᖹ➼ࠖࡼࡗ࡚ࡼࡾࡼ࠸⏕άࢆ➇த࡛㏣ồࡍࡿ ࡇࢀࡣⓗ࡞ຠᯝࢆࡡࡽࡗࡓタᐃ࡛࠶ࡾࠊ࣓ࣜ ࡇࡀዡບࡉࢀࡿ♫࡛࠶ࡿࠋ㈋ࡋ࠸ᐙᗞ⏕ࡲ ࢝ࡢ➇த♫ࡓ࠸ࡍࡿᢈุ࡛ࡣ࡞࠸ࠋࡋࡋ≢ ࢀࡓ࣓ࣜ࢝ேࡣࠊᙜ↛ࡢࡼ࠺ࡼࡾ㇏࡞⏕ά ேࡀ࠸ࡎࢀࡶ➇த♫ࡢ⪅࡛࠶ࡿࡇࢆ⪃࠼ ࢆࡵࡊࡋ࡚ດຊࡍࡿࠋࡇࡢࢻ࣐ࣛࡢ≢ேฮࡢ ࢀࡤࠊࡇࡢࢻ࣐ࣛࡣᙼࡽࡀ㝗ࡾࡸࡍ࠸⨜ࠊࡍ࡞ࢃ 㛵ಀࡣࠊᐇࡣ࣓ࣜ࢝♫ࡢ➇தཎ⌮ᛅᐇᚑ 㸫 㸫 㧗⏣ಟᖹ ࡗࡓே㛫ࡑࢀ⫼ࢆྥࡅࡓே㛫ࡢ㛵ಀ࡛ࡶ࠶ ࢆཷࡅධࢀࡿࠖࡇࡼࡗ࡚ࠊጔࡸከࡃࡢぶᡉ ࡿࡀࠊࢥࣟࣥ࣎≢ேࡢ⏕ࡁ᪉ࡢᑐẚࢆ㏻ࡋ࡚ࠊ ࡢே㛫ⓗࡘ࡞ࡀࡾࢆࡶ⥔ᣢࡋ࡚࠸ࡿࠋ ➇தཎ⌮ࡢ୰ࡦࡑࡴ༴㝤ᛶࢆᬯ♧ࡍࡿሙ㠃ࡀ ࠶ࡿࠋḟᘬ⏝ࡍࡿࡢࡣ➨㸵ࢩ࣮ࢬࣥ㸱స┠ 4㸬ࠗฮࢥࣟࣥ࣎࠘ࡢ㨩ຊ Make Me a Perfect Murder (1978)ࡢ୍ሙ㠃࡛ࠊ ࡇࡢฮࢻ࣐ࣛࡢẅேࡢືᶵࡣ㣚࠼ࡸ㈋ᅔ࡛ ㈋ࡋ࠸⏕࠸❧ࡕࡽࢸࣞࣅᒁࡢዪᛶࣉࣟࢹ࣮ࣗ ࡣ࡞ࡃࠊ⃭ࡋ࠸➇தࡢ୰࡛ඛ㗦ࡋࡓಶே⩏ࡢ ࢧ࣮Ⓩࡾࡘࡵࡓࢣ࣭ࣇ࣮ࣜࢫࢺ࣮ࣥࡀࠊᑡ ☜ᇳ࡛࠶ࡿࠋࢠࣕࣥࢢࡶ㯞⸆ࡢேࡶኻᴗ୰ࡢ㯮 ዪ௦ఫࢇࡔᐙ࡛ࢥࣟࣥ࣎㐼㐝ࡍࡿࠋ ேࡶ⌧ࢃࢀࡎࠊẅே௳ࡣࢩࣕࣥࢹࣜࡢୗࡀࡗ ࡓ㑰ࡢᐈ㛫ࡸᐷᐊࠊࡲࡓࡣ୰ࡢ࢜ࣇࢫࡸ Kay: You know I always knew this place was ࢸࣞࣅᒁࡢ୰࡞ࠊㄡࡶ≢⨥ࢆணᮇࡋ࡞࠸ሙᡤ࡛ small, but I never realized it was quite this tiny. Ⓨ⏕ࡍࡿࠋ≢ேࡣ㔠㖹ࢺࣛࣈࣝࡸᾋẼࡢΎ⟬࡞ The four of us cramped in here, never a chance ࡢ⮬ᕫ୰ᚰⓗ࡞ືᶵ࡛ẅேࢆ≢ࡍሙྜࡶ࠶ࡿࡀࠊ to be alone. ಶே⩏ࡢ☜ᇳࡢ⤖ᯝࠊࡑࢀࡲ࡛⠏࠸࡚ࡁࡓ⮬ศ Columbo: I took a trip a few years ago. Took ࡢ⏕άࢆ㋃ࡳࡌࡽࢀࠊࡸࡴ࡞ࡃ≢⾜ཬࡪࡇ Mrs. Columbo back to the house where I grew ࡶከ࠸ࠋࢥࣟࣥ࣎ࡀ෭㓞࡞≢ேᛣࡾࢆᾎࡧࡏࡿ up. It looked all shrunken. I had five brothers ࡼ࠺࡞ปᝏ௳ࡣࠊThe Columbo Phile ࡼࢀࡤ and one sister, Miss Freestone, and all that was 45 ௳୰㸱௳ࡍࡂ࡞࠸ 10)ࠋᙼࡀᢸᙜࡍࡿࡼࡾከࡃ really terrific. There was always someone ࡢ௳࠾࠸࡚ࠊࢥࣟࣥ࣎ࡣ⮬ศࡢ⏕ࡁࡀ࠸ࢆᏲ around for company. We were never lonely. ࡿࡓࡵࡸࡴ࡞ࡃ≢⾜ཬࢇࡔ≢ேࡢࢪ࣐ࣞࣥ Kay: You're a very special man, Lieutenant. ྥ࠸ྜ࠺ࠋࡑࡢࡼ࠺࡞ሙྜࠊࢥࣟࣥ࣎ࡣࢻ࣐ࣛ You accept things as they are. I try to change ࡢ᭱ᚋ࡛㐊ᤕࡉࢀࡿ≢ேࢆ࡞ࡐᐢࡋࡆ࡞⾲ them. ࡛ぢࡘࡵ࡚࠸ࡿࠋࡑࢀࡣ⮬ศྠࡌ㈋ࡋ࠸ቃ㐝 Columbo: That's to your credit, ma'am. Your ⏕ࡲࢀ࡞ࡀࡽࠊୖࡢ㝵ᒙࢆࡵࡊࡋࡓࡤࡾಶே success and ambition and all. ⩏ࡢࢃ࡞ࡣࡲࡗ࡚ẅேࢆ≢ࡋࡓࢣ࣭ࣇ࣮ࣜ ࢫࢺ࣮ࣥࢆぢࡘࡵࡿࡢྠࡌࠊࡸࡉࡋ࠸ྠࡢࡲ ࠕᘵࡀከ࠸ᑠࡉ࡞ᐙࠖࡣࢣࢥࣟࣥ࣎ࡀඹ᭷ ࡞ࡊࡋ࡛࠶ࡿࠋ ࡍࡿ㐣ཤࡢయ㦂࡛࠶ࡿࡀࠊࡑࢀᑐࡍࡿጼໃࡢᑐ ⬮ᮏࢆ᭩࠸ࡓࣦࣞࣥࢯࣥࣜࣥࢡࡣࠊࡇࡢฮ ẚࡀேࡢࡑࡢᚋࡢே⏕ࢆỴᐃ࡙ࡅ࡚࠸ࡿࠋ㈋ࡋ ࢻ࣐ࣛࡀࣇࣥࢸࢪ࣮࡛࠶ࡿᐃ⩏ࡋ࡚࠸ࡿ ࠸Ꮚ౪௦ࡀࠕᘵࡀࡦࡋࡵ࠸࡚ࠊࡦࡾ࡞ࡿ ࡀࠊࡑࢀࡣ⌧ᐇࡢฮࢆ㐓⬺ࡋࡓ᭹ࡸ㌴࡛ࢥࣟ ࡇࡶ࡛ࡁ࡞࠸ࠖࢿ࢞ࢸࣈ࡞グ᠈ࡘ࡞ࡀࡾࠊ ࣥ࣎ࢆⓏሙࡉࡏࡿࡔࡅ࡛ࡣ࡞ࡃࠊ≢⨥ᤚᰝࢆ㉸࠼ ࡑࡇࡽ㣕ࡧฟࡍࡓࡵດຊࡋࡓࢣࡗ࡚ࠊ ࡓฮ≢ேࡢὶࢆྍ⬟ࡋ࡚࠸ࡿࠋ༢≢ ࠕ࠸ࡘࡶㄡࡑࡤ࠸࡚ࠊࡦࡾ࡞ࡽࡎ῭ࢇ ⨥ࡢᤚᰝࢆᒎ㛤ࡍࡿࡔࡅࡢࢻ࣐࡛ࣛࡣ࡞ࡃࠊฮ ࡔࠖᛮ࠸ฟࢆ࡞ࡘࡋࡴࢥࣟࣥ࣎ࡀࠕኚࢃࡾ⪅ࠖ ≢ேࡢᚰࡢࡩࢀ࠶࠸ࢆ㏻ࡋ࡚࣓ࣜ࢝➇த♫ ᛮ࠼ࡿࠋ࣓ࣜ࢝ࡢ➇த♫ࢆᇶ‽ࡍࢀࡤࠊ ࡢၥ㢟Ⅼࢆ⪃࠼ࡉࡏࡿࡇࢁࠊࠗฮࢥࣟࣥ 㐣ཤࢆኚ࠼ࡼ࠺ࡍࡿࢣࡢ⏕ࡁ᪉ࡀࠊᶆ‽㏆ ࣎࠘ࡢ⌮ᛶࢻ࣐ࣛࡋ࡚ࡢ῝ࡳࡀ࠶ࡿࠋ ࠸ࡢࡶࡋࢀ࡞࠸ࠋࡋࡋࢣࡀฟୡࡢ௦㈹ಶ ࡑࡢࡼ࠺࡞㨩ຊࢆ༑ศぢࡏ࡚ࡃࢀࡿసရ ே⩏ࡢᏙ⊂㝗ࡾࠊࡑࢀࡀᙼዪࡢ≢⨥ࡢᘬࡁ㔠 ࢆ㸳ࡘ㑅ࢇ࡛ࠊḟ⤂ࡍࡿࠋ ࡞ࡗࡓࡢᑐࡋ࡚ࠊࢥࣟࣥ࣎ࡣࠕ㈋ࡋࡉࡢ⌧≧ ձ Any Old Port in a Storm (1973) 㸫 㸫 ࠗฮࢥࣟࣥ࣎࠘➇த♫࣓ࣜ࢝ ࢝ࣜࣇ࢛ࣝࢽ࣡ࣥࢆ㛤Ⓨࡍࡿ࢝ࢵࢩ࣮ࢽࡣࠊ 5㸬ࠗฮࢥࣟࣥ࣎࠘᪥ᮏ ࣡ࢼ࣮ࣜᡤ᭷⪅ࡢᘵࡀ㔠ḧࡋࡉᡤ᭷ᶒࢆࣛ ࠗฮࢥࣟࣥ࣎࠘ࡣ 1970 ᖺ௦ᅵ᭙᪥ࡢኪ ࣂࣝ♫ࡾΏࡍ⪺࠸࡚ࠊ⃭᪸ࡋ࡚ẅᐖࡍ NHK ࡛ᨺᫎࡉࢀ࡚ࠊ᪥ᮏ࡛ࡶࡁ࡞㡪ࢆࢇ ࡿࠋ࢝ࢵࢩ࣮ࢽᝨࢆᢪ࠸࡚ᤚᰝࡍࡿࢥࣟࣥ࣎ ࡔࠋ࡛ࡶ᰿ᙉ࠸ࣇࣥࡀ࠸ࡿࡽࡋࡃࠊࠗ᥎⌮ ࡣࠊ࣡ࣥసࡾ⇕ࢆὀࡄᙼࡢጼඹឤࡋ࡚ぶ ᑐỴ࠘࠸࠺࢙࢘ࣈࢧࢺࡀ࠶ࡗ࡚ࠊ㸲㸳సࡢ ࢆ῝ࡵࡿࠋ➨㸱ࢩ࣮ࢬࣥ㸰స┠ࠋ ࢻ࣐ࣛࡑࢀࡒࢀ㛵ࡋ࡚ヲࡋ࠸ゎㄝࢆࡅ࡚࠸ ղ Mind Over Mayhem (1974) ࡿ 12)ࠋࡋࡋࠊࡇࡢ࢙࢘ࣈࢧࢺ♧ࡉࢀࡓ᪥ᮏ Ꮫ⪅ࡢᜥᏊࡀ┐⏝ࡋࡓㄽᩥ࡛㈹ࢆཷࡅࡿ┤๓ࠊ ࡢࣇࣥࡢ㛵ᚰࡀࠊࢥࣟࣥ࣎ࡢ≢⨥ᤚᰝࡔࡅ⤊ ࡑࢀẼ࡙࠸࡚ཷ㈹ࡢ㎡㏥ࢆ㏕ࡿᙼࡢᣦᑟᩍᤵ ጞࡋ࡚ᙼ≢ேࡢே㛫ⓗὶࡲ࡛ゝཬࡋ࡞࠸ ࢆࠊ∗ࡢேཱྀ㢌⬻◊✲ᡤᡤ㛗ࡀẅᐖࡍࡿࠋ┣┠ⓗ Ⅼࠊከᑡࡢ㐪ឤࢆぬ࠼ࡿࠋࡑࡢ⌮⏤ࡣࡘ⪃ ∗ᛶឡⰋᚰࡢ㈐ࡢ㛫࡛ᦂࢀࡿᡤ㛗ࡢᚰࡀࡼ ࠼ࡽࢀࡿࡢ࡛ࡣ࡞࠸ࠋ ࡃ₇ࡌࡽࢀ࡚࠸ࡿࠋ➨㸱ࢩ࣮ࢬࣥ㸴స┠ࠋ ➨୍྿ࡁ᭰࠼ࡢၥ㢟ࠋ྿ࡁ᭰࠼ࢆᢸᙜࡋࡓ᪥ ճ By Dawn's Early Light (1974) ᮏࡢತඃࡣࠊᛀࢀࡗࡱࡉࡸጔࡸぶᡉࡢヰࢆᣢࡕฟ ㌷ே㣴ᡂ࠸࠺ᓫ㧗࡞♫ⓗࢆ⥆ࡅࡿࡓࡵࠊ ࡋ࡚≢ேࡘࡁࡲ࠺ࢥࣟࣥ࣎ࡢወጁ࡞ែᗘࢆࠊ 㝣㌷ᗂᖺᏛᰯᰯ㛗࣒ࣛࣇ࢛࣮ࢻబࡣࠊ⏕ᚐᩘࡢ ࡰࡅࡓཱྀㄪ࡛࠺ࡲࡃ⾲⌧ࡋ࡚࠸ࡿࠋࡋࡋࢥࣟ ῶᑡࢆ⌮⏤ᏛᰯࢆඹᏛࡢ▷ࡋࡼ࠺ࡍࡿ ࣥ࣎ࡢࠕ࣎ࢣࠖࢆᙉㄪࡋࡍࡂ࡚ࠊࢥࣟࣥ࣎ࡀ≢ே ⌮㛗ࢆ⚃◙ࡢᭀⓎࢆࡗ࡚ẅᐖࡍࡿࠋబࡢᚰ ᥋ࡍࡿࡢ㠃ᛶࢆ࠺ࡲࡃ࠸ศࡅ࡚࠸࡞࠸ࠋ ࡢࢪ࣐ࣞࣥࢆ㌷ேࡽࡋ࠸ᢚไࡉࢀࡓែᗘ࡛ዲ₇ ᐇ㝿ࡢࢥࣟࣥ࣎ࡀヰࡍⱥㄒࡣࡶࡗ"straight- ࡌࡓࣃࢺࣜࢵࢡ࣭࣐ࢡࢢ࣮ࣁࣥࡣࠊࡇࡢసရ࡛࢚ forward"࡞ࡢ࡛ࠊᙼࡀ≢ேࢆẼ㐵ࡗࡓࡾ┿ၥ ࣑࣮㈹ࢆཷ㈹ࠋ➨㸲ࢩ࣮ࢬࣥ㸱స┠ࠋ ࠸⣓ࡍࡢ┿ᦸ࡞ែᗘࡀࡼࡃࢃࡿࠋࡋࡋࡇࡢ մ Forgotten Lady (1975) ྿ࡁ᭰࠼࡛ࡣࡑࡢⅬࡀ࠺ࡲࡃఏࢃࡽ࡞࠸ࡢ࡛ࠊ ඖ࣑࣮ࣗࢪ࢝ࣝࢫࢱ࣮ࡢࢢ࣮ࣞࢫ࣭࣮࢘ࣛࡀࠊ ࠕࢥࣟࣥ࣎≢ேࡢே㛫ⓗὶࠖ࠸࠺ࡇࡢࢻࣛ ࣒࢝ࣂࢵࢡࢆክࡳ࡚ᚲせ࡞㈨㔠ㄪ㐩ࡢࡓࡵࠊኵࢆ ࣐ࡢࡶ࠺୍ࡘࡢࢸ࣮࣐ࡀࠊ᪥ᮏࡢど⫈⪅⌮ゎࡉ ẅᐖࡋ࡚㈨⏘ࢆዣ࠺ࠋᙼዪࡢẼࢆࡌ࡚ኵࡀ㈨ ࢀ࡞࠸ࡢ࡛ࡣ࡞࠸ࠋ 㔠ᥦ౪ࢆᣄࢇࡔࡇࡸグ᠈ࡢ㞀ᐖ࡛ᙼዪࡀ⮬ศ ➨࣓ࣜ࢝ࡢ➇த♫ࡢ⌮ゎᗘࠋ࣓ࣜ࢝ ࡢ≢⾜ࢆぬ࠼࡚࡞࠸ࡇࢆ▱ࡾࠊࢥࣟࣥ࣎ࡣ㐊ᤕ ♫ࡢ➇தཎ⌮ࡣࠊಶே⩏⾲୍య࡛࠶ࡿࠋ ࢆ᩿ᛕࡍࡿࠋ⪁࠸ࡢ୰࡛ᚲṚ㐣ཤࡢᰤගࢆồࡵ ከẸ᪘ᅜᐙ࡛ࢥࢿࡸ࠼ࡇࡦ࠸ࡁࡼࡿᕪูࢆ㜵 ࡿࢢ࣮ࣞࢫᙼዪࢆᨭ࠼ࡿ₇ฟᐙࡢ₇ᢏࡀ༳㇟ ࡄࡓࡵࠊಶேࡢ⬟ຊࢆ᭱㝈ホ౯ࡍࡿࠕᶵ ṧࡿࠋ➨㸳ࢩ࣮ࢬࣥ㸯స┠ࠋ ࡢᖹ➼ࠖࡢཎ๎ࡀ☜❧ࡋ࡚࠸ࡿࠋࡋࡓࡀࡗ࡚ࠊಶࠎ յ The Conspirators (1978) ேࢆṇᙜᢅ࠺ࡓࡵࡶࠊ⬟ຊᛂࡌ࡚ホ౯ࡢᕪ リேࡢࢹࣈࣜࣥࡣࣝࣛࣥࢻ㠉㌷ᐦ ࢆࡘࡅࡿ⬟ຊ⩏ࡀ㔜せどࡉࢀࡿࠋࡋࡋ᪥ᮏࡢ Ṋჾࢆᐦ㍺ࡋ࡚࠸ࡿࡀࠊ⮬ศࢆࡔࡲࡑ࠺ࡋࡓṊ ♫ࡣᶓ୪ࡧࡢࠕ⤖ᯝࡢᖹ➼ࠖࡢཎ๎࡛Ᏻᐃࢆಖ ჾၟேࢆẅᐖࡋ࡚㆙ᐹ㏣ࢃࢀࡿࠋ࠸ࡗࡋࡻ ࡗ࡚ࡁࡓࡢ࡛ࠊಶࠎே⣽ࡃホ౯ࡢᕪࢆࡘࡅࡿ ࣜࢵࢩࣗ࢘ࢫ࣮࢟ࢆ㣧ࢇ࡛リࢆྫྷࡌ࡞ࡀࡽࠊ ࠊ㏫Ἴ㢼ࢆ❧࡚࡚ࡋࡲ࠺༴㝤ࡀ࠶ࡿࠋホ౯ࡉ ᐦ㍺ࢆᩒ⾜ࡋࡼ࠺ࡍࡿࢹࣈࣜࣥᤚᰝࡢ⥙ࢆ ࢀࡿഃࡶࠊ⮬ศࡢ⬟ຊࢆᚲせ௨ୖぢࡏࡘࡅࡿே ḟ➨⊃ࡵࡿࢥࣟࣥ࣎ࡢ㥑ࡅᘬࡁࡀぢࡶࡢࠋᨻ ࡣࠊ࿘ࡾࡽⓑ࠸┠࡛ぢࡽࢀࡿ㢼₻ࡀ࠶ࡿࠋࠗฮ ⓗࢫࢣ࣮ࣝࡢࡁ࡞సရࠋ➨㸵ࢩ࣮ࢬࣥ㸳స┠ࠋ ࢥࣟࣥ࣎࠘ࢆ᪥ᮏேࡢどⅬࡽࡳࡿࠊࡳࡍࡰ ࡽࡋ࠸ฮࡀ➇த♫ࡢ⪅ࢆ㏣࠸ワࡵࡿ③ᛌ 㸫 㸫 㧗⏣ಟᖹ ࡉࡤࡾࡀ┠ධࡗ࡚ࡋࡲ࠺ࡢ࡛ࡣ࡞࠸ࠋࡋ ࡋᐇ㝿ࡢࢥࣟࣥ࣎ࡣࠊ⿱⚟࡞≢ேࡢ⨥ࡣ㏣ồࡍࡿ ࡀࠊᙼࡢࡑࢀࡲ࡛ࡢᴗ⦼ࢆᑛᩗࡍࡿព㆑ࡣኚࢃࡽ ࡞࠸ࠋࡑࢇ࡞ࢥࣟࣥ࣎ࡢ㠃ᛶࡣࠊ➇த♫࡛ ࡘࡇࢆ⣲┤⛠㈶࡛ࡁࡿ࣓ࣜ࢝ேࡣ⌮ゎ ࡋࡸࡍ࠸ࡀࠊ᪥ᮏேࡣ⌮ゎࡋࡀࡓ࠸ၥ㢟࡞ࡢ ࡶࡋࢀ࡞࠸ࠋ ὀ 1) Richard Levinson & William Link, Stay Tuned: An Inside Look at the Making of Prime-time Television (New York: Ace Books, 1981). . 2) Stay Tuned ᥖ㍕ࡉࢀࡓࣉࣟࢹ࣮ࣗࢧ࣮ࡢ୍᪥ࡢࢫ ࢣࢪ࣮ࣗࣝ㸦p.78㹼p.90㸧ࢆཧ↷ࠋ 3) Mark Dawidziak, The Columbo Phile: A Casebook A Complete and Illustrated History of Television's Finest Series (New York: The Mysterious Press, 1988). 4) Peter Folk, Just One More Thing : Stories from My Life (New York: Carroll & Graf Publishers, 2006). 5) Richard Levinson & William Link, Stay Tuned, 98. 6) Mark Dawidziak, The Columbo Phile, 8. 7) Peter Folk, Just One More Time, 154. 8) Richard Levinson & William Link, Stay Tuned, 95. 9) ᚿᮧ㝧୍ࠗ␗ᩥ♫࣓ࣜ࢝࠘◊✲♫ࠊ2006 ᖺࠋ 10) Mark Dawidziak, The Columbo Phile, 76. 11) ᥎⌮ᑐỴࠗฮࢥࣟࣥ࣎࠘◊✲࢙࢘ࣈࢧࢺࠋ URL㸸http://tanokura.web.infoseek.co.jp 㸫 㸫