Mediocrity after intertextuality and intertextuality

From the lineup of screenwriters, we can know that the artistic and box office success achieved in "The Stick of Heart" has turned into a comeback. Akira Kurosawa has always used Japanese culture and samurai ronin as the body to interpret American westerns. Stylized, and this film returns to the characteristics of Westerns. Of course, the scene is a small town in Mexico, and the same story is presented in a fixed space... It can be said that Akira Kurosawa is an intertext for Westerns. Then this film is an intertextual intertextuality, an input after output. However, if you compare it, you can see that although the presentation is almost the same as that of "The Stick with Your Heart", it is really bad compared to the character portrayal of this film. The protagonist is just playing tricks. Handsome, this has become everything. The portrayal of the gangster characters on both sides and the portrayal of the protagonist's friends are completely blank. Everyone inexplicably started the war and ended inexplicably. The only commendable thing is that the narrative background of the story is actually quite far-fetched in Japan. The chaotic West complements each other, and it will be more comfortable under the interpretation of American culture... Of course, the film does not forget the infiltration of ideology, that is, the Americans mentioned many times in the film, the most Chinese-style knight, this Western cowboy, became a The savior in the darkness of Mexico, the Mexicans in the whole play are ignorant, they eat black, and the people live in dire straits, so the appearance of the American cowboy has become a hope. Smart and cool, he lured the two sides to fight, and finally let the people get peace. In the 1960s, the United States was best at promoting the image of its savior through Hollywood... Interestingly, there are still no women in the script, only that The rescued civilian women, so the image of the American cowboy is like a Japanese ronin. They sacrifice themselves while fighting for justice. They are self-exiled. In the end, they all have to stay away, live in no fixed place, and go to the sky. They have no emotional life and are accompanied by In addition to the samurai sword, they have revolvers, knives and guns have become metaphors for libido, and they use this to vent their desires. It seems that their magical skills are all due to their own emotional flaws... However, the same script, There are also loopholes due to different weapons. For example, in the end, the screenwriter's design is that the protagonist wears a bulletproof vest, which is different from "The Stick with Heart", so the opponent's number one killer is helpless. The problem is, obviously, guns can be used in addition to If you hit the body, you can also hit the exposed part first, so it's like the last two people's duel, everything is too gentleman, or the moral standard of that era, but it is not in line with the identity of the gangster, and it is not logical. It is the unavoidable problem of transplantation...

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