I've said more than once that I don't like Takeshi Kitano's films. This director has a rare grim face, and his eyes have no purpose, no perceptual sharpness and insight. It turns out that he was once disfigured. "That Summer, Tranquil Sea" is a bowl of Japanese-style soba noodles with distinct soup ingredients. There is not much difference between what you see and what you eat. I repeatedly endured the man and woman walking back and forth on the beach without saying a word. At that moment, I suspected that I was also a hearing-impaired person, and I began to feel tired of this long-term torture of being too quiet. That disc obediently committed suicide at the most opportune time. I have never been so happy for a failed purchase. I put that disc away and watched its edges slowly cool and turn black. It turns out that there is a real pleasure in destruction. It turns out that I can be as sharp and iron as Kitano Takeshi.
"Hana", which won the Golden Lion at the Venice Film Festival, has only been watched for a short title. Kitano's face that stayed up too late and thought hard, convinced me that he has an amazing memory of violence and sudden street death. When this face appeared for three or five minutes, I suddenly remembered another earlier movie, in which Takeshi Kitano played a phantom thief who was good at disguise. He was wearing the black cloak and tight breeches of an old British detective movie, but with a short stature, and flew from the roof to a huge and suspicious moon. Such a haggard face and clumsy body really can't be associated with the empty hands like Chu Liuxiang in my mind. I can only hypnotize myself like this, which may be Kitano Takeshi's disguise for Kitano Takeshi. It is said that the theme of the movie "Fireworks" is that life is like fireworks, fleeting. Japanese aesthetics are usually ruthless and thorough. All I see are many middle-aged men shaking and thinking, and no matter how brilliant the fireworks are at this age, there is probably only a little smell of nitrate left.
"Bad Boy's Sky" is really the name of a movie, youthful and bizarre running, there is a sense of masochistic blankness in the body, blood is stuck in a certain part of the car, and the whole city horns at the same time. My imagination is too enthusiastic. Takeshi Kitano apparently ignored the preference of a certain person halfway across the ocean. He let a campus occupy the first half of the film, and a boxing gym dominated the rest. Ministry, the sky has also been masked. This kind of blatant violence is not a visual aesthetic that I am willing to accept. Coldness is also an emotion. Direct violence without any foreshadowing is just an unexpected impermanence of life in my opinion. I like the title of a movie like "Blood on the Street". Although the actual plot is far from it, the word "street" is full of market atmosphere, just like the wonderful alley of "Durian Fluttering", the alien Fluttering durian.
Sometimes the master's brand is also a lot of pressure on others. It's easy to be suspicious of yourself, and then fall asleep in front of many movies. Why can't I not like Takeshi Kitano? "The Doll" entered my machine under this kind of indecision. This time I saw puppets co-starring with real people. Just like the advent of cartoons, puppet shows are a derivative of the usual drama, with the fake being more like the real, or more fake than fake. Its division of labor is also the order of the old industrial civilization. Every process hidden behind the puppets has been tested and passed down from generation to generation and cannot be questioned. Music, onomatopoeia, singing, scenery setting, performance, there is hardly any element of childlike innocence in the theater effects, and it is also a tragedy of death that perishes together.
I believe that a lot of movies are constructed from a line of dialogue, a relationship, a small detail, and then try to add other parts for these trivial functions. The original source of the story of "The Doll" was that Takeshi Kitano saw a pair of male and female beggars tied together with a rope when he was still talking about comic dialogue in Asakusa. And the yellow car that runs through the movie is also the ambulance that was roaring on the street in the mental hospital in Kitano Takeshi's childhood memories. Yellow is really ambiguous, aroused nerves and plucked an out-of-tune chord, and then walked away in anger. About twenty minutes into the movie, I wasn't quite in the right state, and I was being disturbed by two other stories interspersed at the same time. I thought it was a headless mystery with intricate relationships, but I didn't expect it to be just three stories that were smashed and spliced together independently of each other. I saw a woman holding a lunch box on a park bench, a barricade worker in a trance, and Kyoko Fukada singing and dancing on the stage. It turns out that there is no intrinsic connection between these three stories. The important thing is that Appearance, because they will all appear around the bound lovers. This time, I was also bewildered by the gesture of the moon.
Time and space are also the appearance of this film. The alternation of the four seasons is actually about thirty years in length for the women in the park. She wore the same red dress for 30 years, put on the same makeup for 30 years, and kept the same sitting position for 30 years, for fear that he would forget her appearance. Waiting is the most important and stupid thing in life for her. When she wanted to change the deadlock, the person who was waiting so hard was hit by a bullet. Another story is even crueler. A fan's love for an idol has reached a maddening sweetness and cuteness. In a car accident, the singer lost the most proud and beautiful half of his face, and he withdrew from the stage sadly. The fans resolutely stabbed their eyes and met their favorite idol with perfect memories of the past, and then died in another car accident. No one wants him to tie her up, no one wants her to wait for thirty years, no one wants him to assassinate him, selfishness makes these acts so bizarre, every story has a defender of selfishness, every story Ended definitively with death. All of these deaths are not presented head-on, but reappearances of the scene after an instant, a ephemeral past perfect tense. Only Takeshi Kitano, who is so obsessed with death, can express his tireless death in this way.
Life is destiny, death is destiny, supernatural attitude and oriental ethics full of fireworks are two murderous children chasing each other in Kitano Takeshi's nightmare. He embellished death and love side by side, tattooing the half-wing of a butterfly on the lips of the deceased. Sadness is the moment, crying is the moment, and everyone knows that the beginning of life is to abandon the road and run away. Takeshi Kitano dresses his death films in the costumes of Yohji Yamamoto, one of rough and refined minimalism, one of exaggerated and frivolous glamour. Cherry blossoms, moonlight canyons, maple forests, snowy fields, the most common four seasons scenery, what I ask for in this movie is a form of ecstasy, just like seeing the lovers on the rope for the first time, the initial impulse is to think Tie yourself to someone, healthy, sick, whole, mutilated, or dead.
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