◆ Takashi Miike × Quentin Tarantino
Under normal circumstances, it is difficult for a director as interesting as Takashi Miike to win in the three major film festivals (Venice, Cannes, and Berlin). Although his style of work is ostentatious and eye-catching, but often overly challenging people's senses, psychology, concepts, violence and human relations are not fortified by Sanchi, but the psychology of the judges is fortified, and generally does not buy it. However, this new film "Thirteen Assassins" seems more likely to be a well-regulated commercial production. Whether it is called a period drama, a sword halberd movie or a samurai movie, it should be in the category of people's impression of mainstream Japanese cinema.
Even if there is no violence and ethics that challenge the limits, the probability of commercial production being favored by the judges is very small. However, this time the chairman of the jury is Quentin! Therefore, everything is possible. "Thirteen Assassins" and Tsui Hark's "Di Renjie: The Empire of the Sky" may win one or two awards. Speaking of the selection of the main competition unit of Quentin in Cannes in 2004, the main awards finalized are non-mainstream choices: Palme d’Or is Mike Moore’s "Fahrenheit 911", the jury award is Park Chan-wook’s "Old Boy", the most The best director's award is Tony Gatlif's "Exils". In addition to "The Exiled", there are some mainstream art films. If "Fahrenheit 911" and "Old Boy" are left as usual, almost It is impossible to win prizes.
Quentin’s favorite movies and favorite directors are constantly changing at different times and in different interviews. On the whole, his interest has been maintained in action movies, B-level movies and other difficult genres. Scope. He once claimed that he loved countless directors, and Asian filmmakers such as Wu Yusen, Lin Lingdong, Tsui Hark, Du Qifeng, Miike Takashi, Tsukamoto Shinya, and Park Chan Wook are all his favorites. In fact, his works always bypass the extremes, not like his character idols who take the edge of the sword. "Inglourious Basterds" is connected to many films in film history (of course, many of them are B-level films), and the temperament is quite elegant. , But his source of nutrition and hobbies have always changed.
Quentin also played a cameo role in "Sukiyaki Western." This time, the ruffian heroes met again. The overbearing Quentin left the judges' choices. Venice gave Sanchi and Tsui Hark some awards gifts. The possibility is not small.
◆ Takashi Miike × Violence & Ethics & Genre
The overseas popularity of Takashi Miike began with "Skin-cutting Love", which Quentin once listed as his ten best films. "Skin-to-Skin Love" contains both super-violent scenes and SM-style scenes. "Hitman Aichi" and "Yi Zang" are even more famous for violence, and heterochromatic films such as "Visitor Q" and "Bull Head" catch up with the Japanese pink films in the 70s (the cult pink films, not the Romans Pink piece). To deal with violence, sentimentality, ethics, etc., for Miike Takashi, there are no excessive worries, and there is no boundary between normality and abnormality. Miike doesn't require high production costs, and he willfully dances with extreme objects, using various elements to the extreme, one by one, one by one, the audience is dumbfounded.
In addition to extremes, Miike has repeatedly directed mainstream films with strong commercial colors, such as the youth romance film "Andromeda Report", the campus action film "Blood College", the children's film "Monster War", and the more regular literary work "China Birdman" etc. The type is in the hands of Sanchi and does not constitute any obstacles. Like a martial arts master, he can travel through the jungle like no one in the type jungle.
There are not many directors who cross different themes and genres. For example, Takeshi Kitano wanders between violence and tenderness ("Big Brother" VS "Summer of Kikujiro"), Robert Rodriguez changes between violence and innocence ("Sin City" VS "Very Little Agent"). Also, directors who pursue individual art within the Hollywood system, such as Steven Soderbergh, follow the creation of "one for me, one for them" (one for me, one for them). Rhythm. If the extreme works of Takashi Miike are the amplification of personal taste and feeling, then the other genres are more commercial-led, for them.
However, the types and subject matter of Sanchi's works are far more than simple. The simple duality of the private style and the popular style of trying commercial films cannot cover all of his works. Remakes of masterpieces, experimenting with new technologies ("Visitor Q" was filmed with DV), subverting traditions, etc., the meaning of Miike's works is difficult to generalize. As a director, Takashi Miike's pedigree of his works presents the characteristics of the author, the themes and styles are not clear and unified. Those extreme themes and pictures are the most eye-catching points of view, but they are obviously only part of Miike. On the surface, his work is a sequence without themes. At the inner level, it is difficult to see which part is Sanchi's main creative driving force and expression appeal. The meaning of one part of his works concealed the meaning of another part, just as gentleness dissolves a little bit of violence, causing both appearances to become blurred. Uncovering the curtain of fiction, prying into the true context, you have to read as many Miike works as possible, endure the ugly sensational vision, overstep the warmth of lyricism, pass the innocence of children, or establish a more comprehensive and precise Impressions of Miike Movies. On the way, you may encounter inaccessible garbage, or you may encounter unique surprises.
◆ Takashi Miike × Extremely fast production speed
Takashi Miike can shoot five works in a year. This speed can be described as miraculous from the perspective of today's film production concept, just like the production speed of early Hong Kong filmmakers and even directors in the silent film era. It is no wonder that people are called fast gunners and creative superman when driving at such a speed. He claimed to complete the 100th work of his life as soon as possible. At present, it is close to 80. At the speed of Sanchi, the 100th work is just around the corner.
If he is like Wang Jing, with a lot of bad movies, no one will pay attention. However, due to the extreme core and form of the work, Sanchi's creative speed has become a new story and legend. The root of the problem is whether or not the quality of the work will be damaged at such a fast creative speed, and how much. Woody Allen's production rate is not slow, but in front of Sanchi, it's a little utterly insignificant. Even Woody Allen's standards have been fluctuating. For this situation, he said: "I can only do this. Even if I slow down my work, the result will not get better." The perfection of art For him, it's not the most important thing. Making movies can see beautiful girls, make money, and be famous. He doesn't want to sacrifice his life to make movies. Movies are just icing on the cake. Putting Woody Allen's words on Miike Takashi, the movie to Miike Takashi, is it just a display of evil taste and a carnival trick of fun? Obviously, this is not the only way. Miike Takashi has left a lot of value for reference in the development of form. Those shadow incidents that face up to the nasty level of human nature are forerunner behaviors that attack and deconstruct their pain from the front. Those abnormal ugliness and pains cannot be saved by universal morality and benevolence, and they are generally ignored in a polite manner of upbringing, which are hypocritical acts of hypocrites.
In general, although Sanchi's works are up and down and fluctuating, there is a reason and need for continued attention. His speed of production and low cost requirements are obviously not the style of a perfectionist. Just imagine, if Miike shoots "Visitor Q" like Kubrick, would "Visitor Q" be much more "beautiful", and would its roughness and reflection of reality weaken?
◆Tasushi Miike×The remake of
"Thirteen Assassins" remakes from Kudo Eiichi's 1963 work of the same name, Kudo Eiichi's "Thirteen Assassins", 64's "Big Kill", and 67's "Eleven Samurai" formed the era Drama trilogy. This remake of Miike is more likely to be a tribute to this trilogy series.
There are a lot of remakes of Miike’s works, such as "A Ghost Story" remake from Jin Zhiyun’s "The Incident of Unspeakable Lost Souls", "New Benevolence’s Cemetery" remakes from Shen Zuo Xinji’s "Benevolence and Righteous Cemetery", "Office Worker Kintaro" is adapted from the Japanese drama of the same name. Remake is the most convenient way to obtain materials. Old works that are suitable for modernization, need to be improved and new ideas are explored and adapted into new works suitable for the needs of the current audience with the concepts and production environment of the new era. It is not only convenient but also utilitarian to connect to Miike’s fast gun method and to draw material from old movies. Of course, sometimes, it is to pay tribute to the predecessors, one type of film, and the love and memory of the old age.
Imamura's "Narayama Festival Test" won the Cannes Palme d'Or. Before this film, there was a film of the same name directed by Keisuke Kinoshita for 58 years, and it was recognized as a masterpiece. It seems that taking awards and remakes will not constitute an obstacle. The final result of "Thirteen Assassins" will be revealed on September 11.
(Written on September 5th, the results have been released, "Thirteen Assassins" did not win a prize)
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