In fact, the best character in the whole film is not Qingbingwei, nor Pengjiang, but the swordsmanship instructor. Of course, this impression may be due to the fact that I watched this movie with the feeling of watching Kobayashi Masaki's sword and halberd movie. Because of its strong left-leaning tendencies, Kobayashi Masaki's films convey a very clear message. It's a pity that such strong emotional expression is very rare in contemporary Japanese films - something strong is more likely to be artistic. In contrast, the emotional conveyance of this work will be more subtle, not so striking. As for the control of the rhythm, there are obvious signs of collapse in the middle and rear sections, but the final duel is a win.
Having said that, the directors of the Showa era, especially the directors of the golden age, are very different from the directors of Heisei and even Reiwa. We can feel that the director's style is moving towards moderation and moderation. It seems inappropriate to say that they are self-defeating martial arts, but "smoothing the edges and corners" is obvious. This seems to reflect the feeling of Japan as a country to some extent.
The loss of the audience is that now I can only watch cool dramas like Naoki Hansawa! Directors, can you have a snack?
Also, Miyazawa Rie is so pretty.
【Spoiler alert! ! ! ! ! ! ! ! ] [Small theater time in the brain! 】what? The protagonist didn't die like a dog? This is not a Swordsman movie! Takuro Tanba warns: Do not fight indoors with a long sword. So angry, why not let Danbo play the big boss. The last question, why not use platoon guns to kill the big boss? Why not set fire? The protagonists who died like dogs in Lao Jian Ji's film expressed strong condemnation, "It's shameless to kill my lord."
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