The first time I came into contact with Takeshi Kitano's films, I heard that he would always play a role in his own films. But I can't believe that the first appearance in "Hanawa" is the short, fierce man with sunglasses and clearly visible facial wrinkles.
The plot of the whole movie is very compact. The main story is that the wife of police officer Ueda has leukemia, and he is persuaded by his colleague He Du to go to the hospital, who usually does not go home to visit. However, He Du was unfortunately shot by a gangster during that job. His wife and daughter left without saying goodbye. He had to rely on a wheelchair to live. In another mission, another of his colleagues, Tanaka, was also shot to death. The guilty Ueda felt that he was responsible for both of them' injuries and departures, so he borrowed a loan shark and helped He Du buy a lot of paint brushes to financially support Ueda's family. In the end, he hijacked the bank, paid off the loan, and walked the last part of his life with his wife.
However, the portrayal of characters is far from being as simple as mentioned above. Ueda, a police officer with no more than 20 lines in the whole movie, is brutal, but brave enough to make me admire. Because I like his tenacity, I believe that brutality comes from his profession, and his dissatisfaction with bad people doing bad things comes from his sense of justice. He shot and killed only those who had a bad influence on society. When the muzzle of the gun was aimed at these men, he did not hesitate to pull the trigger; when the snow-white towel was in his hand, he hurriedly threw it at their faces, scratching them with blood and scratches Sober; he blinded the man with a chopstick when they grinned at himself for being a coward. This, I don't know if it's a tit-for-tat?
Yet he was terribly brave. The death of the daughter, the silence of the wife, her illness, the disability of the partner, the death of the subordinate, it seems that every event is enough to make people despair of life and weigh us down. Still, when everything was added up, Ueda faced off with calmness and silence. He was sad too, but he didn't say it, and no one could tell him; he didn't cry, only the right side of his face twitched occasionally. His guilt turned into material compensation for his friends and family, even though he knew that the benefits were insignificant to those who were hurt.
So, when he thought that his repression could only be released by exchanging his life for his guilt, he resolutely made a move that departed from Su Shi: robbing banks and killing loan sharks. After completing a series of ridiculous things, he finally traveled to the countryside with his wife, watching fireworks in the grass at night, and taking pictures in front of the temple together in the morning. When the last scene was at the seaside, he seemed to realize that he had reached the end of the journey, so in the smile of his wife and the only sentence "Thank you for everything you gave", two gunshots rang out on the seaside.
In addition, he shoots some violent scenes that are different from the usual movies. Without a complete case, the audience began to understand the matter through the dialogue between the two. Suddenly, a gunshot rang out, the protagonist of the incident fell, and the audience's thoughts were suddenly cut off. Before we recovered, the camera switched back to the conversation between the two. These interludes seem to deliberately interrupt the tranquility of this conversational environment, and form a strong contrast to this tranquility. In the part where Tanaka was killed, even all the ambient sounds disappeared, and there were only a few powerful gunshots left, which accentuated the cruel and mournful feelings even more. A film reviewer even wrote that the director's shooting mostly used overhead shots to give the audience a panoramic feeling. I think this kind of shooting is even more cruel, because we are directly facing the dead and accepting this naked death.
The teacher hasn't mentioned the camera movement in this movie, but I guess that the panning in this movie is intriguing. At the beginning, watching the car go away, the camera slowly panned the road facing the sky to the sky, showing a blue-based movie atmosphere. At the end, the director moved the shot with the two as the main body horizontally to the sky and the sea. The gunshots sounded in the endless two things, and the movie came to an abrupt end, leaving an unseen ending for everyone.
The music in the film is also one of the highlights. The opening music has been running through the whole story, sometimes melodious in the plot with his wife, and sometimes agitated in the fierce atmosphere. It turned out that it was from Hisaishi Joao. Sometimes I don't pay much attention to the music of the movie, but in this movie, the soundtrack of this ileum is essential.
I was thinking, why should we grieve over death? If death means loss, who do we lose? Or his voice and smile? However, each individual is an independent member. They do not belong to other people when they are born. We neither have his name nor his thoughts. What we can have and remember is the The happy and painful times with that person, as long as I am still there, I still remember those things, even if the other person is not there, so what?
If death wasn't worth grief, perhaps Ueda wouldn't blame himself so much. All the criminal policemen will carry the belief that they will die at any time when they perform their tasks, and they will also think of how their family members will live in a kind of fearful life. Yes, as Tanaka's wife said, it has nothing to do with you. It's just that when the old police officer fell into unbearable pain, he forgot where his grief came from, and only knew that he should bear this sudden change. He used paintbrushes and paints to pull the pained He Du from death, but what about himself? His wife's smile was perhaps the most gratifying moment when he made the choice.
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