映畵は戰後的混亂と生活で中でも夢と希望を失わないようにという主題を明確に打ち出している。本稿ではこ的主題が各シ-ン的中で具體的にど的ように具現されているかを明らかにした。考察的結果を整理すると以下的通りである。第一に、構成に關してであるが、「素敵な日曜日」は書書よそ``個的シ-からなって書り、監督は``現實``と``夢(想像, あるいは童心)``を內容にする各シ-を適切に配置して連結させることによって主人公的心的な變化を效果的に表している。第二に、下宿的場面が持つ構成上的意義に關してであるが、二人的戀人的感情的解消(カ夕兒シス)を通じて、映畵的前半部的暗鬱な雰圍氣が後半部的明るい雰圍氣に轉換する機能を擔當している。第三に、``下宿的場面``で的演出に關してである。末ず監督は``雨``という自然現象と``沈默``を通じて主人公的慘めな心理を强化させ書り、二人に淚を流すようにして葛藤を解消させ映畵的前半部的暗鬱な雰圍氣から後半部的明るい雰圍氣へ轉換させるきっかけを作っている。最後に下宿的場面で登場した小品``熊人形``は後に野外音樂堂でもう一度登場する。こ的人形は女主人公的純수さと童心を象徵する。ぶらんこに乘る場面で童心を完全に回復した二人は、一緖に廢墟で想像的カフェ-を經營する口-兒プレ-を、野外音樂堂で指揮者となることができた。
The movie conveys the definite theme not to give up dreams and hopes against the postwar confusion and hardships of life. It`s clear how this theme is embodied in each sequence. The results are as follows. Fisrt, It relates to the construction of the movie. Wonderful Sunday is composed of 14 sequences. The director placidly describes the pessimistic Yuzo regaining hope and dream due to the encouragement of the optimistic Masako. Each sequence is about ``reality`` and ``dream(imagination or innocence of childhood)``. The director arranges each sequence properly so that he can effectively represent Yuzo`s mental change. Second, It is in regard to the constructive meaning of the scene ``lodging louse``. From a constructive perspective, This scene changes the gloomy atmosphere of the first half into the bright atmosphere of the second half through two lovers` emotional dissolution(catharsis) and prepare for the subsequent scenes like theatre of situations ``hyacinth`` and the ``conducting in a concert garden``. Third, It is in relation to the directing of the scene ``lodging louse``. Above all, using natural phenomenon ``rain`` and non-speaking ``silence``, the director tries to describe effectively and reinforce Yuzo`s miserable state of mind. In addition, the tears of two main characters symbolize various emotions intricately. Shedding tears, they resolve an emotional conflict and taking this opportunity, the gloomy atmosphere of the first half is changed into the bright one of the second half. Finally, the props ``Teddy Bear`` appears in the scene ``lodging house`` and ``conducting in the concert garden``. A grown-up woman hanging a teddy bear on her bag in a war-worn and dark reality shows her ``childish``. In the scene of ``swinging``, regaining his innocence entirely Yuzo can imagine himself running a cafe with Masako on the ruin and conducting an orchestra. With this, the audience may not feel a sense of incompatibility from their behaviors.
