"Killer Aichi": Sun Jiajun, Jia Lun or Tachibana's confusion □ Text / Vulcan Ji
The most confusing thing about living is that many times, we don't always recognize our own appearance. - Vulcan Ji. Inscription.
If it weren't for this movie, maybe, I would never have noticed this soulful and charming Sun Jiajun. I can often see this former Miss Singapore champion in Hong Kong movies and dramas, and many times she always acts as an inconspicuous little supporting role. Before this movie, except for the vase, maybe I was not in this Actors see more features or highlights. If it weren't for Takashi Miike, perhaps her literary career would have been defined by me in this way: not a pretty vase; an inconspicuous supporting role. Don't talk about flattering words like Michi Chongshi's point of stone for gold, because he won't see it, and it will lose the role of flattering. However, it can be said that the movie "Killer Ah Yi" made me re-acquainted with this vase-like female artist who is not very prominent in Hong Kong movies and dramas from another level. The small supporting roles who are always playing bad roles have a new look and feel. This role fulfills the artist, or the artist fulfills the role. In short, in this film, I at least saw the restraint and rare due diligence that an artist should have, and at least a flesh-and-blood screen character. The director gives the movie the soul; the actor gives the character the soul. It's a great movie created by a group of people doing their jobs. Aesthetic, tender, beautiful, complete, touching, warm; and so on.
Sun Jiajun in this movie appeared as Jia Lun. The woman of the boss of An Sheng, because of her old age, the boss of An Sheng found a seventeen-year-old lover after he was released from prison, so she seemed to be reduced to a bar to accompany the drink. Perhaps, this character is just depicting the unfathomable uncle from the side in this movie. But the character is still alive. Putting aside her confusion about herself and returning to her and Yuan Yuan, more often I suspect that she likes Yuan Yuan rather than Boss An Sheng. When Kakihara was frantically looking for Boss An Sheng and had nowhere to go, she at least showed a strong desire to replace Boss An Sheng. This desire is not about power, but more like a woman's desire to occupy a man. Kakihara tied himself in the middle of the chain, and Karen went crazy and punched and kicked Kakihara. According to the logic of the film, this kind of punching and kicking may not mean hatred and violence, but more like a love, a love tangled in violence, despair and death. The pool of blood on the ground showed that her fist against Kagawara was not weak but rather decisive and powerful. A woman who tries so hard for a man's desire to be satisfied, perhaps, we can't find any other reason than love. But she was disappointed, and it wasn't just her disappointment. It was also Kakihara's disappointment. When Kakihara told her that you were far worse than the boss, I wondered if she felt a sense of complete despair. When she frantically yelled at Kagawa to ask him to come back, Kagawa left without looking back. Looking at her panting appearance, I seemed to see a desperate love dying gradually. Even if this kind of love seems a bit abnormal and has a kind of corrupt madness. But as this character image itself, she has reason to get the sympathy she deserves.
Let go of emotions. Her blood also has a brutal gene in her blood. When she was drinking with her, she once told people that she once raised a puppy, and her puppy was often bullied by the neighbor's big dog, so she kept praying that the neighbor's dog would die one day. Finally one day, the neighbor's dog really died. It was she who killed the dog with her own hands. I was wondering what kind of woman could be so cruel to a living being and say it so lightly, with even half a shred of excitement. In this scene, Sun Jiajun's performance is remarkable and in place. Especially expressions. There is also a scene that depicts Sun Jiajun and Yuanyuan pulling the face of a man lying on the ground together. This section depicts the cruelty in her heart even more. The man on the ground was howling in pain and panic, and her face was almost as happy as a woman's expression during sex, and her colorful fingernails were tearing the man's face to blood. her cruelty. Is it just because of the age-old pursuit of sadism and masochism in Japanese movies? This boundless obscene desire in Japanese movies can never be stopped. But if not, what this character has experienced and felt, those things that are not explained in the movie make me fascinated. This is probably what fascinates me the most about this movie. Fantasies, constantly inspiring fantasies about everything unknown to all the characters are so surging. Besides Miike Takashi, who else would he leave behind?
Many times I suspect that she colluded with that yin-yang uncle to murder Boss An Sheng together. For lust or money. I don't believe in love, at least between her and Boss An Sheng. This was speculated from the content of the chat between her and Uncle while playing chess. As for the depiction of this character, what I pay most attention to is the illusion in the moment when she chats with Uncle. Maybe Uncle, the man who has been called that way in the movie is the biggest ultimate boss in this movie. All of Hajime's memories are virtual, directly instilled into him after being hypnotized by Hajime, and whether Jailun's memories are real. I couldn't find the answer in her confused eyes when she asked Uncle, "Have you ever hypnotized me?" The hallucination that flashed through her in an instant was that she had become the Tachibana-san who was raped by Hajime's heart, but Hajime was powerless to save. What is revealed at the end of the film is that she becomes a pawn for Uncle to control Ah Yi. She went to Hajime herself and told her illusory longing. To be cut piece by piece, enjoy death. It's the obscene obsession that's been raving about in this movie. She was dead, no doubt cut open by the blade at the back of Ah Yi's foot. She did not die of her own desires, but the way her uncle wanted. This character clearly dyes the film red with a great sadness.
The existence of this character is largely a twisted symbol of sadness, with a bit of rage, a bit of madness, a bit of sadness, a bit of blur, and a bit of sexiness. Before she was completely cut to pieces by Hajime, the last question she could never understand was whether she was Karen or Miss Tachibana. Actually, we know that she is just Karen. Tachibana is just a very complete virtual character image used by Uncle to manipulate Aichi as his murder tool. Fear of being raped, but also eager to be raped by Hajime; afraid of being hurt, but also eager to be completely cut to pieces... This kind of confusion exists in Hajime's mind, and it doesn't concern Jialun or Tachibana. It was Takashi Miike who made this movie and Sun Jiajun. If it weren't for this movie, maybe I wouldn't have written one more word for Sun Jiajun.
2007-01-19; Xin Chou month and Gui Chou day in Bingxu year. Sang Song Mu Kui.
Note: Links to movie information. ■Title: "Ichi the Killer" ■Foreign title: "Ichi the Killer" ■Director: Takashi Miike ■Starring: Shinya Tsukamoto Asano Tadanobu Omori Minamito ■Genre: Thriller / Drama / Horror / Crime / Comedy ■Duration: 129 min Region: Hong Kong/Japan/Korea Language: Cantonese/English/Japanese Release: Media Blasters Release: September 2001
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