It's probably the music, the pictures, the text, and David Bowie, Ryuichi Sakamoto's mesmerizing and moving look, a series of complex combinations that spawned a kind of "" "Poetic" romantic clouds lingered in my heart and could not be dissipated for a long time.
Two phenomenal musicians have collaborated on a phenomenal film, and despite the explosiveness, there are bound to be flaws in the performance. After watching the film, Sakamoto was surprised at how badly he acted, and even discussed with Takeshi Kitano to steal the master tape of the film and destroy it. Indeed, some people commented that the Japanese officer he played habitually pouted before expressing "anger", which always made the audience laugh in an instant, where is there any fear? His face was twitching and stiff enough that I couldn't bear to laugh at him.
But there are at least three scenes in the movie that are so moving that they overshadow everything else.
The first, of course, is the shocking kiss between the two. When Sakamoto was angry about killing the prisoner of war, the original text of the novel wrote, "At that time, I didn't have time to calm down and understand what "goodbye" meant, nor did I know it was proof that he walked calmly and waited for his fate. As soon as he finished speaking, he walked out of the queue. His hat was tilted slightly like a gangster in a movie, and the pin on it was shining in the sun. As Lawrence said before, he walked beautifully, not in a hurry, as if A steed that rushed out of position and marched forward bravely, walked towards Yunoi." Bowie's posture was as described in the book, beautiful, not in a hurry, "like a French general rewarding a soldier's courage, in his two Kissed on the cheek", Sakamoto was furious, and ashamed that his forbidden love was made public, he collapsed due to exhaustion, and Bowie calmly waited for his final destination - the death sentence. The classic melody "Forbidden Color" created by Sakamoto sounds at this moment, and even the hard-hearted person will soften. The more abstinence, the more romantic, the vague feelings of the two have been suppressed, and at this moment, a bright color finally appeared, but then it returned to hopeless silence. In the process, Bowie's fearlessness in the face of death, philosophical thinking, and a casual attitude towards death have plated an eternal golden light on this story, which comes from religion, from heaven, from philosophy, from The power of thought.
In the second shot, Bowie is punished. He is buried in the ground, only his head is exposed on the ground, his blond hair flutters in the wind, and he always looks into the distance. When the twilight was closed, Sakamoto came from a distance. He cut off a strand of blond hair and put it away. Without saying a word, he left. This is the last time the two meet, quietly.
In the third shot, the brutal Japanese officer played by Takeshi Kitano is after the war with his former prisoner of war - and a friend he once rescued, Mr. Lawrence, the Japanese officer who pretended to be drunk on Christmas Eve and pardoned what should have been executed Lawrence, who was executed, greeted him with "Merry Christmas" while pretending to be drunk, which was the most precious birthday gift he gave to his captive friends under pressure and danger - the possibility of survival. At the end of the film, the identities of the two have changed. This time, the one to be executed is Takeshi Kitano, who has become a prisoner and a war criminal, but Lawrence is powerless to save him. On the eve of his execution, Lawrence comes to visit him. Lawrence was about to leave the cell when suddenly the film featured Takeshi Kitano's face, his eyes were red with tears, but smiling, saying goodbye to his friend: "Merry Christmas, Mr Lawrence", the classic musical motive is full again We have seen the redemption of human nature and the dawn of human friendship and love that are not wiped out by political stance and ideological brainwashing. We also feel sorry for the ordinary people who were born into the killing.
The film is Oshima's greatest condemnation of militarism, a tribute to the director's outstanding work under pressure
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