After reading it, I stopped for about ten minutes before slowing down to write something. I usually write it while I read it, but of course I wrote it when I started reading it this time, but I decided to delete it all.
Nagisa Oshima mentally abuses me! I didn't know the director, and I even wondered where the film was made. I was quite surprised when I learned that the director was Japanese. . The film is really ruthless when it exposes Japan's own inferiority and wartime samurai values that have been distorted, so that when I first watched it, I felt a kind of allergy to domestic films.
I don't think it's a gay movie at all. The movie carries so much under one clever subject, and the most classic two veneer kisses (I'm too shocked to speak) seem more provocative to me, against shackles and hiding behind shackles The cowardly provocation, the provocation of the cultural divide, is not only a provocation to Yonoi, but also a provocation to himself. Jack feels like a thorn to me all over again, a thorn that will only sharpen after the repression of the past, pointing to everything it questions. It's not so much an expression of love as an awakening of the self.
The other line between Lawrence and Ohara was drawn longer and buried deeper. "Japan is a nation of anxiety. As an individual, nothing can be done, and in the end there is only collective madness." The clash of cultures is more apparent in these two people. Two Merry Christmas is also really sad.
The tone of the whole film is still very dull and slow, but what Oshima Nagisa leaves to people is the agitation under the calm and repression, the dull and powerful drum-like, pure spiritual crushing. Coupled with the soundtrack of Ryuichi Sakamoto, the whole thing is a continuous critical strike.
David Bowie was instantly recognizable to me. . Oh my God. At the end of the film, it was discovered that the actor of Yonoi turned out to be Ryuichi Sakamoto. . it turns out. . . In short, this is a movie that I didn't know anything about before I watched it (I just took it casually), and I felt uncomfortable listening to poor Japanese and English in the first half, but I saw that the director kept hammering it after watching the show. A movie where the staff list is even more heart-pounding.
Fate is really a wonderful thing. The piano version of the song Merry Christmas was pushed to me by NetEase Cloud a long time ago. It was once the best song in the song I pushed and dug at the same time, but I didn't pay attention to the name of the composer. A few months later I reunited with Ryuichi Sakamoto at the screening, the first time I knew his name but it was our second meeting. And this movie is not because I have heard the name for a long time or because of the music (I didn't know it was the soundtrack before this), it's just one of the many movies in the online disk, I don't know its Fame, just came in by accident, but I didn't expect to give people such a big surprise.
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