繁體中文
中平康1926年生於東京，1978年逝世。其父高橋虎之助是著名西洋畫家，母親是小提琴老師，他在洋人經營的天主教中學接受教育。1948年他考進東京大學攻讀美術，後因考入松竹的大船片場當副導演而中途退學，曾跟隨木下惠介、黑澤明、涉谷實等導演。1954年日活恢復生產並招攬人才，他跟隨前輩川島雄三，與當副導的同輩今村昌平一同跳槽。1956年他以副導演身份執導《被盯住的男子》，而隨後完成的「太陽族」作品《狂暴的果實》（1956）倒先上映，改編自石原慎太郎的同名小說，只用十七個工作天完成，自此被稱為「天才導演」；由於片中對暴力與性愛的描寫大膽露骨，一度被保守派抨擊為有傷風化。憑著敏銳的觸覺與嶄新的手法，他與曾留學意大利的增村保造被稱為日活「前衛雙絕」，贏得不少新一代電影青年的歡心。他在日活時期的代表作還有《才女氣質》（1959）、《冤家與我》（1961）、《污泥中的純情》（1963）、《星期一的若卡》（1964）、《獵人日記》（1964）、《砂上的植物群》（1964）及《黑色賭博師》（1965）等。六十年代中期以後，他在日活的地位開始動搖，經邵氏兄弟（香港）有限公司駐日代表蔡瀾介紹來港工作，以楊樹希的中文藝名拍下《特警009》（1967）、《飛天女郎》（1967）、《狂戀詩》（1968）及《獵人》（1969）四部影片，除《飛天女郎》外，其餘三部分別改編自其舊作《無國界流氓》（1965）、《狂暴的果實》與《獵人日記》。他曾在香港上映的日本作品，如《狂暴的果實》、《星期一的若卡》、《獵人日記》及《砂上的植物群》等，博得香港年輕一輩影評人的一致讚賞，在當年進軍邵氏的日籍導演中，他可說是風格最具銳氣的一位。與邵氏約滿後，他回日本繼續拍片，遺作為1976年的《變奏曲》。
English
Nakahira Ko was born in Tokyo in 1926 and died in 1978. His father, Takahashi Toranosuke, was a noted Western-style painter and his mother a violin teacher, and he was educated at a Catholic school run by foreigners. In 1948 he entered Tokyo University to study fine art, but left midway after joining Shochiku's Ofuna studio as an assistant director, working under directors including Kinoshita Keisuke, Kurosawa Akira and Shibuya Minoru. When Nikkatsu resumed production and recruited talent in 1954 he moved there with his mentor Kawashima Yuzo, alongside fellow assistant Imamura Shohei. In 1956 he directed his first film, A Man Who Was Being Watched, as an assistant; the 'Sun Tribe' picture Crazed Fruit (1956), completed afterwards, was released first. Adapted from Shintaro Ishihara's novel and shot in only seventeen working days, it earned him the label of 'genius director', though its frank depiction of violence and sex drew criticism from conservatives. With his sharp instincts and fresh technique he was paired with the Italian-trained Masumura Yasuzo as Nikkatsu's 'two avant-garde masters', winning favour with a new generation of film youth. His Nikkatsu period also produced such titles as A Woman's Testament (1959), The Enemy and I (1961), Passion in the Mud (1963), Monday's Yuka (1964), Hunter's Diary (1964), The Flora on the Sand (1964) and The Black Gambler (1965). From the mid-1960s his standing at Nikkatsu wavered, and through the introduction of Chua Lam, Shaw Brothers' representative in Japan, he came to Hong Kong and directed four films under the Chinese pen-name Yeung Shu-hei: Interpol 009 (1967), The Flying Dagger Girl (1967), Mad Love (1968) and The Hunter (1969). All but The Flying Dagger Girl were adapted from his earlier works The Ruffian Without Borders (1965), Crazed Fruit and Hunter's Diary respectively. His Japanese films released in Hong Kong, among them Crazed Fruit, Monday's Yuka, Hunter's Diary and The Flora on the Sand, won consistent praise from the territory's younger critics, and among the Japanese directors who joined Shaw Brothers he was regarded as the most sharply individual in style. After his Shaw contract ended he returned to Japan to keep making films, his last being Variations (1976).
