As soon as the actor appeared, Rinko Kikuchi; Naoko played by きくちりんこ was a student head of some noodles in clear soup, but the mature eyes, obvious big bags under the eyes and hard facial lines were not the natural and elegant Naoko described by Murakami at all. In the original work, Naoko, who has always been in a psychopathic state, was always quiet and shy, but Naoko, adapted by Anh Hung Tran, became a crazy woman running and screaming in the wilderness in the beautiful picture, which caused Naoko to still Not crazy enough to commit suicide, first of all, the audience in front of the screen almost broke down.
Another protagonist in the original, Midori-ko, has also been changed beyond recognition. Not only is the actor's image a far cry from Murakami's Midori-ko, but his personality is also completely different. Midori-ko was originally a careless girl who didn't care about it, but in the film, she was angry and ignored him because of Watanabe's words. Perhaps Anh Hung Tran successfully filmed Naoko and Watanabe's passionate scene in the rain, and as a result, Watanabe went to Midori-ko's house for dinner, and the two people sang while watching the fire and kissed suddenly. Chatting in the rain.
After Naoko committed suicide, Watanabe wandered to the seaside. In the film, large sections of choppy footage and sound of waves, as well as Watanabe's roaring and crying were used to express Watanabe's mood. The fisherman, when the fisherman invited him to eat and drink, he repeatedly said that the food he had eaten for the past few days was "bread, dry cheese, tomatoes, chocolate". pain.
In the film, the director used too little brush and ink on Reiko. As a autistic, melancholy and dazed adolescent, Watanabe has been looking for the answer to love, experienced the suicide of his friend, trekking around at a loss, and finally Reiko talked to him and encouraged him. Reiko had a relationship, and finally plucked up the courage to start exploring life again. At the end of the whole story, the key sex scene between Reiko and Watanabe was not filmed by the director or it was deleted. This episode can show that Watanabe and other teenagers come through sex. I also feel very regretful that I did not take pictures of ideas such as exploring the meaning of existence.
It may be due to cultural differences and different understandings of the work, but the film still fails to express the essence of the original work truly and intuitively. In the original work of むらかみはるき, the emotional entanglement of Watanabe, Naoko and Midori-ko is the main line. What is revealed in a sentimental story is a kind of young confusion and helplessness. Although the film faithfully follows the narrative method of the original work, and the opening part is also relatively good, the whole film becomes a little confusing after the appearance of the role of Midori-ko. Bian entangled in the emotional expression between Naoko and Midori-ko is slightly superficial, making this part of the original's most moving and sad feelings inexplicable and superficial, greatly weakening the power of the original. In addition, under the condition of limited time for video works, the film failed to well reflect the anxious and empty inner world, confused and fragile living conditions of urban people behind a common love story in the original work. The large number of descriptions of "death" in the original work have more profound meanings, and the death of Naoko, Hatsumi and other characters also interprets a heavy theme with fateful sadness and lead gray, and the gloomy and dark theme of the whole work. The sentimental theme coincides. Although these plots are shown in the movie, they only stay on a superficial sadness because of the lack of sufficient foreshadowing and rendering, and the connection with the whole work is separated intentionally or unintentionally.
In the final analysis, it is actually a difference between literature and film at play. As a sentimental romance novel, むらかみはるき in this work is mixed with topics such as sex, death, life, society, etc., and also includes the discussion of the confusion and living conditions of young people, and these things are in It is really not an easy thing to present in a film of about 120 minutes. We see that Anh Hung Tran has tried his best to stay true to the original and maintain his consistent style, trying to show a Norwegian Wood that he can show and understand. As far as the imagery of this film is concerned, it can also be called a beautiful work that has rarely been seen in recent years. In many cases, the director can only interpret the original work according to his own understanding, but it is precisely because of this that it is difficult to meet the requirements of everyone. There always seems to be an insurmountable gulf between literature and images. ()
