A face carved in pink and jade, with beautiful lines of rich red lips and clear gray-blue eyes, came into view at the moment when the silky cello sounded. The face of a geisha, this trick is not another prostitute, they are artists of a lost world, countless pairs of beautiful eyes of different shapes contain the same sadness, and hundreds of flowers blooming in the graceful figure reveals the same sadness and desolation.
Kimono made of Tatsumura silk, heavy silk and satin, intricate lace and hairpins, dark-yellow wooden houses, endless cornices, lanterns, rain and night, damp alleys, among women The teasing and jealousy, the contrived laughter, the pink and red lips "still holding a pipa half-covered", the gray-blue eyes of Chiyo Mizuno, the white mask and the folding fan, these images together constitute "Memoirs of a Geisha" the cultural context in it. Chiyo in plain clothes threw out a folding fan with one hand, and was caught by Sayuri who was dressed in makeup. The disgraced face became slender arms and a straight nape, a high bun and damask satin. The red lips blow out the charcoal fire, and the black charcoal outlines the eyebrows, which is really beautiful and moving. Put on a yellow robe, tie a golden red bow, and insert a flowery hairpin into the bun. She has a great demeanor, her long skirt is dragging on the ground, and one look can stop people from moving forward.
On the surface, it seems that the plot has fallen into the rut of love, but there is still content worth pondering after careful study of the meaning behind it. The first half is filled with a quirky and compelling visual aesthetic, and then the war reverses the storyline, focusing on the repetitive nature of the geisha's fate. The three Chinese women in the film each inject agility and plump beauty into the film in a unique and vivid way. Zhang Ziyi's introverted hesitation, Gong Li's high cheekbones and thin lips, revealing frivolity and ambition all over her body, the corners of her eyes and brows and smiles are all amorous, and there is a kind of arrogance that is not rigid and can't be restrained, "She also loved, she also There was hope", Michelle Yeoh is a fairy.
In Benedict's "Chrysanthemum and the Knife", it is pointed out that the Japanese are accustomed to separating family responsibilities from "human feelings" in space and emotion. Most Japanese men with financial strength have more or less played geisha or prostitutes, a favor that is permitted in a decent life. Geisha are not involved in eroticism. According to tradition, they are carefully trained in tea ceremony, dress, music, dance and entertaining guests. Their dances, answers, songs and manners are carefully arranged. A kind of liberation from the "filial piety world" of filial piety and loyalty in Chinese culture. The film is reminiscent of dark red and dark green, a "staggered contrast".
Until the moment when Sayuri was standing on the edge of the cliff, her face was the real beauty. Complete despair, a dead silence, eyes with autumn water, eyes like soft waves. "Beauty who doesn't experience heartbreak always has a sweet arc of fate on her face. It's not that it's bad, it's just inhuman beauty that always emerges from ruins and tragedies." This is born in ruins and death The sublime beauty is tragic and therefore the most thrilling. It blends beauty and sadness. The imperialist glimpse of the oriental idyllic landscape seems to have inadvertently touched a touch of wabi-sabi and mourning in Japanese culture at this moment. Beauty is infinitely produced and infinitely destroyed. For Lily, everything is shattered, everything is only despair, and everything is in vain. Tears flowed for the first time on her white mask-like face, and her restrained expression began to shake and tremble. By the water, Sayuri took out the handkerchief she had cherished since she first met with the president, the last thing she had survived through so many difficulties and obstacles. The camera zooms out, and in the boundless wilderness, Lily is alone, with despair soaking through her body, hope falling like leaves, until she has nothing left. She transcended herself, became a symbol, and life became an appearance. At this moment, the bone-numbing cello sounded, silky and sad, and stubbornly sad. She used deliberate whitewash to cover up her real face, and her eyes were as deep as autumn water. This is not what a geisha should expect, this is not what a geisha should feel, she is an artist of a lost world. She dances, she sings, she pleases you, whatever you want, the rest is a shadow, the rest is a secret.
Lin Wenyue mentioned in the preface to the editions of "Pillow Grass" and "Chinese and Foreign Literature": "The sadness of things that permeates Japanese culture is a word that is extremely difficult to grasp concretely. Generally speaking, "things" refers to the existence of objective objects , "Sorrow" represents the subjective emotion endowed by human beings. When a person's subjective emotion is stimulated by external and objective things, it reacts and enters a state of subjective and objective fusion, that is, it presents a harmonious world of emotions. It is not an external world. It exists in people's hearts, but exists in people's hearts. Its connotation is not fixed, but fluid, which means that the spirit is in a special state of aesthetic excitement; There is something eternal in all images. The object of beauty may change with the times, but the aesthetic experience is eternal." The bottom layer of the aesthetic experience has the principle of immortality, which is the most fundamental in human life that governs this infinite birth and death. , The pure and continuous truth is the essence of the sorrow of things. This is the way every geisha must go, forever, over and over again, deprived of the right to love and pursue as a person, forced to serve and entertain others, forced to hide their joys and sorrows, from this moment Since then she has become a symbol rather than a person, a cultural symbol rather than a living being. She became a bonsai, a complex and delicate work of art. "You can't ask for the sun, give me more sunshine, and you can't ask for rain, give me more rain, for a man, a geisha can only be half a wife. However, after experiencing countless misfortunes, you can also slow down Slowly learn to experience the feeling of happiness and experience the extraordinary courage that little girl possesses."
Countless pairs of beautiful eyes of different shapes contain the same sadness, and the slender figure with hundreds of flowers in full bloom reveals the same sadness and desolation. We looked into the towering rocks of the house. At this time, it was no longer the smoke of gunpowder that blocked our sight, but all the contradictions between stillness and movement, the contradiction between inside and outside. In the eyes of outsiders, there was only a trace of decline and mysterious remnants. Light.
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