In the movie, Kikujiro's name was originally the name of Kitano Takeshi's father. Kitano Takeshi once said in an interview: "I don't seem to have the memory of talking to him during his lifetime, but looking back now, he is really a bit lonely. The theme of this movie is a bit different. The feeling of filial piety, like sweeping a grave, can also be called offering." Takeshi Kitano made up for the regret that he did not communicate with his father very much through the film. As a father, Kijiro and his son would also have regrets if they did not communicate with each other. Accompanying Zhengnan, Kikujiro not only made up for his inner regret, but also made up for his own father's regret by playing the image of Kikujiro.
A failed middle-aged ruffian, Kijiro, accompanies Zheng Nan, who is lonely and autistic after losing his parents, on the road to find his mother. Halfway to the nursing home to see my mother.
The whole movie is very clean and pure, and emotionally restrained. When Zhengnan saw that his mother had a family of her own and a child, Zhengnan was standing on the road far away, witnessing her mother and her new family. , and was pulled away by Kikujiro. Takeshi Kitano did not deliberately exaggerate his emotions, but used very restrained camera language and performances to let the audience enter the inner world of Zhengnan. And when Kikujiro went to visit his mother, he just glanced from a distance outside the nursing home and left immediately. Takeshi Kitano gave up the means of intensifying the dramatic conflict and exaggerating emotions, and used forbearance and restraint to present the film. The glimpse of Kikujiro outside the sanatorium is like the tip of the iceberg in the sea. Underwater, instead, it is these invisible emotional conflicts that make the audience feel a greater spiritual shock. Young people like to do addition, and older people like to do subtraction.
This movie keeps doing subtraction, so that the audience can watch this movie from the perspective of a middle-aged person, and the character design in the movie is exactly the middle-aged Kijiro who walked into Zhengnan's heart. Along the way, from the very beginning, he went to the casino completely regardless of Zhengnan's feelings, and finally found someone to play with Zhengnan. While walking into Zhengnan's heart, Kijiro was also repairing his childhood trauma. In fact, Zhengnan and Kikujiro in the movie can be regarded as one person, that is, Takeshi Kitano behind the movie, and Takeshi Kitano, who directed the movie by himself, and played the role of Kijiro himself, is also repairing his childhood trauma. Everyone has a period of loneliness as a child, as well as various other childhood traumas. There is no way for people to go back in time to repair these wounds, but Takeshi Kitano through the movie, a middle-aged "Takeshi Kitano" in the movie and the childhood "Takeshi Kitano" coexist in the same time and space, let the current self accompany the young one. Own. In this process, they are also emotionally feeding back, and they have both comforted each other. Kikujiro, who is the ruffian in the movie, is very unfriendly to everyone on the surface, always scolding people, swearing, and seems to be very strong, but he is actually very fragile at heart. Like Zheng Nan, the lack of parents since childhood made him Becoming sensitive and helpless, he used an unreasonable and caring image of a ruffian to cover up his sensitive and fragile heart. And Zhengnan's emotional feedback to him allowed him to repair his childhood trauma and gradually reveal his warm and gentle side.
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