（下面是纽时原文的翻译，图也是原文中的，违删） 

日本最受爱戴的女演员之一原节子于2015年9月5日在鎌倉去世，享年95岁。她最著名的角色是在由小津安二郎导演的《晚春》，《东京故事》和其它电影中扮演的挣扎于家庭责任和自己的愿望中的妇女。
  共同社在星期三宣布了她去世的消息，称她的家庭成员一直等到那天才向公众公开这一新闻。
  原女士15岁开始演艺生涯，1937年在德日联合出品的《新乐土》中第一次演主角。她饰演一名被未婚夫抛弃后想跳进火山口的年轻女士。
在参与了一批战争宣传片后，她在黒泽明战后第一部电影《我对青春无悔》中饰演一位大学教授的女儿，这位理想主义的女儿，把自己的命运押在了一名反对日本军国主义的左派学生身上。
  从1949年的《晚春》开始，原节子与小津安二郎合作了12年，这部电影，和《东京故事》一样，普遍被认为是小津导演的巅峰之作。她在电影中出演一位年轻妇女纪子，不顾家族催婚，留在家里照料丧偶的父亲，一方面出于奉献精神，一方面则是出于对外面世界的恐惧。
《东京故事》是评论家的各种历史上最伟大电影名单上经常出现的一部经典。原节子扮演一对老年夫妇的守寡的儿媳妇。公婆去东京看望子女，却只在因战争丧偶的儿媳妇身上感受到关怀和忠诚。
  David Thomson在《The New Biographical Dictionary of Film》中写道：“象嘉宝一样，原节子代表了理想的女人味、高贵和慷慨的一种形象”。同样与嘉宝相同的是，原节子也与公众保持距离。
  在出演小津导演的倒数第二部电影《小早川家の秋》（1961年）后，原节子突然退隐，她在她最后一次新闻发布会上暗示，她演电影只是想供养自己的大家庭。她在晚年隐居于镰仓。
  读卖新闻的文艺副编辑近藤隆在该报的英文网上回忆说他数次访问过原节子的家，每次都被一个亲戚劝退，且被告知：“她在这里，身体很好”，“她不接受任何采访”。他说他手下一位记者在一次1992年的电话采访中从原节子口中得到几个字：“我不是唯一的明星。过去，每个人都是明星。”
  原节子于1920年6月17日生于横滨，原名会田昌枝（Masae Aida），15岁时，在姐夫，导演HisatoraKumagai的鼓励下从高中退学，去Nikkatsu Studio工作。有人还给她起了个艺名。她在《年轻人，别犹豫》中第1次登上银幕。
  她擅于表现具有不可动摇的责任心的悲剧女英雄，这使她成为战争片的理想主角，比如今井正导演的《瞭望塔的敢死队》，她与他还在《青山脉》中合作，以及渡边邦男导演的《大空决战》。
  她的战争片在日本协会3月举办的“最美丽：山口淑子和原节子的战争片”上展出。山口淑子女士去年逝世了。
  两部电影捕捉到了战后几年的艰难和在废墟中重建的可能性。在吉村公三郎导演的《安城家の舞踏会》（1947年）中，原女士扮演一家被战争毁了的知识分子家庭里的女儿，这个家庭被迫放弃了家里的大宅院，去寻找一种新的生活方式。一个更具讽刺性的角色来自木下惠介导演的《小姐干杯》（1949年），她扮演一个没落贵族家庭的女儿，跟一位不修边幅的工厂老板发生恋情。
  小津谈到原节子时说：“每个日本男演员都能演士兵，每个日本女演员都多少能演个妓女。但是，很不容易找到能扮演良家女儿的女演员。”原女士从没结婚，也没有直系亲属，她拍了100多部电影。她与导演成瀬巳喜男合作了好几部电影，出演过小津的《麦秋》（1951）、《东京暮色》（1957）和《秋日和》（1960）。
  她于1951年与黒泽明合作，出演基于陀思妥耶夫斯基小说《白痴》的同名电影。她是由三船敏郎扮演的男主角的对象。这部电影反应不太好。她退休前最后一部电影是导演稲垣浩的《忠臣蔵》，47浪人的经典故事的新演绎，一帮18世纪的武士决心要为死去的主子报仇。她退隐之后，电影观众一片哀鸿。对他们来说，原女士不仅是演员，在某种程度上，她就是日本魂。小说家远藤周作写他看原节子电影的感受：“我们会一声叹息，或从心底呼出深深的一口气，因为我们会情不自禁地想：世界上真的会有这样一个女人吗？！”

下面是纽约时报的原文：
Setsuko Hara, Japanese Star of Films by Ozu and Kurosawa, Is Dead at 95
By WILLIAM GRIMESNOV. 27, 2015

（链接）

Setsuko Hara, center, in “Tokyo Story” (1953), directed by Yasujiro Ozu, with whom she had a 12-year collaboration. Ms. Hara began acting at 15 and retired from film in the early 1960s. Credit Janus Films

Setsuko Hara, one of Japan’s most beloved actresses, best known for her subtle portrayals of women torn between the demands of family and their own desires in “Late Spring,” “Tokyo Story” and other films directed by Yasujiro Ozu, died on Sept. 5 in Kamakura, near Tokyo. She was 95.
The Kyodo News Agency announced her death on Wednesday, stating that family members had waited until then to make the news of her death public.
Ms. Hara began acting at 15 and appeared in her first major role in 1937 in “New Earth,” a German-Japanese production in which she played a young woman who, rejected by her fiancé, tries to throw herself into a volcano.
After making wartime propaganda films, she appeared in Akira Kurosawa’s first postwar film, “No Regrets for Our Youth,” playing the idealistic daughter of a college professor, who, in the Japan of the 1930s, throws in her lot with a leftist student opposed to the country’s militarism.
Her 12-year collaboration with Ozu began in 1949 with “Late Spring,” widely regarded, like “Tokyo Story,” as one of the director’s supreme achievements. Ms. Hara played a young woman, Noriko, who ignores her family’s pleas that she marry, choosing instead to care for her widowed father, partly out of devotion, partly out of fear of the world outside her home.
In “Tokyo Story” (1953), a perennial on critics’ short lists of the greatest films ever made, Ms. Hara played the widowed daughter-in-law of an elderly couple who come to visit their children in Tokyo, but find tenderness and devotion only in the woman who married their son, a casualty of the war.
“Like Garbo, Hara came to represent an ideal of womanliness, nobility and generosity,” David Thomson wrote in The New Biographical Dictionary of Film. And like Garbo, she held her public at a distance.
Not long after working with Ozu on his penultimate film, “The End of Summer” (1961), she left the cinema abruptly, implying, in her final news conference, that she had acted in films only to help support her large extended family. She lived the rest of her life in seclusion in Kamakura.
Takashi Kondo, the deputy culture editor of Yomiuri Shimbun（读卖新闻）, recalled on the newspaper’s English-language website that he had visited her home several times, only to be turned away by a relative who told him, “She’s here and in good health” and “She doesn’t give any interviews.” One of his reporters, he said, did coax a few words out of Ms. Hara in a 1992 telephone conversation. “I was not the only star shining,” she told him. “Back then, everyone was shining.”
Ms. Hara was born Masae Aida on June 17, 1920, in Yokohama. She was given a stage name when she began working at the age of 15 for Nikkatsu Studios, having dropped out of high school with the encouragement of her brother-in-law, the director Hisatora Kumagai. She made her debut in “Do Not Hesitate, Young Folks!”
Her flair for portraying tragic heroines with an inflexible sense of duty made her an ideal star in wartime films like “The Suicide Troops of the Watchtower” (1942), directed by Tadashi Imai, with whom she would later make “The Green Mountains” (1949), and “Toward the Decisive Battle in the Sky,” directed by Kunio Watanabe.
Her wartime films were featured in March in a series at the Japan Society, “The Most Beautiful: The War Films of Shirley Yamaguchi and Setsuko Hara.” Ms. Yamaguchi died last year.
Two of her films captured the rigors of the immediate postwar years and the possibility of renewal amid the ruins. In “A Ball at the Anjo House” (1947), directed by Kimisaburo Yoshimura, Ms. Hara played the daughter in a cultured family, ruined by the war, that must give up its mansion and find a new way to live. A more satirical role came in Keisuke Kinoshita’s “Here’s to the Girls” (1949), in which she was the daughter of a down-at-the-heels aristocratic family romantically paired with an uncouth factory owner.
“Every Japanese actor can play the role of a soldier, and every Japanese actress can play the role of a prostitute to some extent,” Ozu said of her. “However, it is rare to find an actress who can play the role of a daughter from a good family.” Ms. Hara, who never married and leaves no immediate family members, made more than 100 films. She worked with the director Mikio Naruse on several movies and with Ozu on “Early Summer” (1951), “Tokyo Twilight” (1957) and “Late Autumn” (1960).
She teamed up with Mr. Kurosawa for a second time in 1951 in “The Idiot,” based on the Dostoyevsky novel. She was cast as the love interest of the title character and of a roguish aristocrat played by Toshiro Mifune. The film was not well received. Her last film before her retirement was Hiroshi Inagaki’s “Chushingura,” a retelling of the classic tale of the 47 ronin, a band of 18th-century samurai bent on avenging their slain leader. When she went into seclusion, Japanese filmgoers mourned. To them, Ms. Hara was more than an actress; she was, in some way, the soul of Japan itself. The novelist Shusaku Endo（远藤周作） once wrote, of seeing a Hara film, “We would sigh or let out a great breath from the depths of our hearts, for what we felt was precisely this: Can it be possible that there is such a woman in this world?”