Akira Kurosawa remembered his younger self in that summer. At that time, he loved art and was full of novel love towards life. He gets his own unique way of looking at life in Van Gogh's paintings, which is frenetic, uncanny and full of the power of life. However, the young Akira Kurosawa eventually lost his way in Van Gogh's wheat fields, watching the sky full of crows flying into the black sky, full of sadness and helplessness.
The first thing that planted sadness in Kurosawa Akira's heart was Bingwu's death. Bingwu was Akira Kurosawa's most respected and considered the most talented third brother. He had a unique Japanese reverence for death and died by suicide at the age of twenty-seven. Bingwu's death gave Kurosawa a strange destiny. At that time, Akira Kurosawa always thought that he was like the shadow of his brother. His understanding of art and life seemed to come from a certain attachment and continuation of his brother Bingwu. This sense of fatalistic death has always haunted Akira Kurosawa, leaving traces in many of his works. Even in his later work, Shadow Warrior, such confusion persists. In the film, the director asked himself: "The master is dead, where should the shadow substitute go?" In fact, he said to Bingwu in his heart: Your soul has returned to the altar, leaving me alone in the world.
Akira Kurosawa was twenty-three years old that year, and three years later he entered the Japanese film industry. A few years later, Akira Kurosawa began to film his debut film "Tsushi Sanshiro". Before that, Akira Kurosawa followed the old Japanese director Kajiro Yamamoto as the assistant director, and independently filmed "Toshi Sanshiro", allowing Akira Kurosawa to find his own way. He suddenly became enlightened, just like the movie "Toshi Sanshiro". The lotus flowers that open silently in the middle of the night.
In the movie "Zisanshiro", the teacher let Zisanshiro spend the night in the cold lotus pond, because he knows that there is something that can make Zisanshiro have an epiphany and is quietly waiting for him. Akira Kurosawa told others: I heard that when the lotus flower opens, it makes an indescribable refreshing sound. So I once got up early to listen to it in Bu Renchi. I stood in the misty morning mist before dawn and heard this sound. Although the sound was faint, it was really refreshing to hear it in the extremely quiet morning mist. What Kurosawa wanted to tell Bingwu was that ten years after his death, his shadow, his younger brother, Kurosawa, heard the sound of the lotus opening.
That year, Akira Kurosawa was still young, still ambitious and longing; that year, there was a door that became bigger and bigger in Akira Kurosawa's mind. Originally, it was just an ancient city gate only for pedestrians, but in Kurosawa Akira's mind, it became deeper and wider. With this door, Akira Kurosawa entered the world of human nature and opened the door from self to the world. In "Rashomon", Akira Kurosawa came to the origin of film art. He used a story of murder in the jungle to describe the strange twists and turns of the human heart and the complex shadows. Humans wander in the jungle of the soul, even when they die. , and will never give up the hypocrisy and cover-up of self-guilt. In Rashomon, Akira Kurosawa can see through death and see the world in black and white.
"Rashomon" was filmed on a windless summer, the sun was dazzling and the weather was sweltering. Akira Kurosawa placed all the staff, all the stories, and all the humanity in a large forest near the Komyoji Temple in Kyoto. In this forest stage with sparse branches and dense leaves and flickering light, Akira Kurosawa's camera began to move, and the jungle was like a young galloping horse. In this time and space where light and shadow flow, Akira Kurosawa flexed his talents willfully and to the fullest. In order to let the sun shine on Tajomaru's eyes, he ordered all the surrounding trees to be cut down; in order to get a bright and translucent shot, the entire crew could sit still for half a day, waiting for the few clouds in the sky to drift by. In that year, Akira Kurosawa was full of the urge for life and the desire to create. That year the sun came through the door and shone into his heart.
When we watch Akira Kurosawa's films, we have courage, tragedy and death, but we never lack the sense of humor in life. Perhaps because of his background in a family of samurai, Akira Kurosawa has more preference and dedication to the elegy of life and death. This is no accident, the death of brother Bingwu has affected Akira Kurosawa's film creation from beginning to end. After Rashomon, Akira Kurosawa used a large number of works to express the Bushido spirit he believed in. Whether it is a samurai film, a Western film, or a war film, the beauty of death has a very high status in Kurosawa Akira's artistic creed. Akira Kurosawa's reverence for heroes is like the young Katsushiro in "Seven Samurai", and he handed over himself without fear or flinch.
However, in Kurosawa Akira's film, the samurai is lonely and sad after all. It is the bones after rising up and resisting, it is the grave after sacrificing life, and it is the soul-calling banner for brother Bingwu that Kurosawa Akira could not lift in his life. In such emotions, Akira Kurosawa inevitably walked into the dark valley of his life. In 1964, after the filming of "Red Beard", Akira Kurosawa and his best friend and partner Toshiro Mifune reported a feud and broke. In the following years, Akira Kurosawa has been in a low mood, and there is a kind of sadness flowing from his deep heart. In 1971, when Akira Kurosawa was over sixty years old, he was willing to be as brave as Bingwu, to end his sorrow and escape into endless death. Life is supposed to be a sad song.
Fortunately for fans, God gave Akira Kurosawa 27 more years. That's why we have today's "Chaos", today's "Dream", and today's "Curling Sunset Love". "Curling Sunset Love" is the last film directed by Akira Kurosawa. In this film, the young man kept asking the old man the question about death: "Are you ready? Are you ready?" The old man He replied eagerly and hopefully: "Not yet." Such an answer expresses the attachment of people in this world to life.
One hundred years later, when human beings continue to struggle in the lost, Akira Kurosawa still stubbornly tells about his lifelong obsession and persistence in his "Dream". He uses the innocence of childhood and the ghost of the dead to wake us up in "Chaos", let us wake up, and then be fearless.
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