8.7 points.
I don’t know how many years ago I watched Late Spring for the first time (I vaguely remember it was more than ten years ago?), and I can’t remember when I relived Late Spring on the big screen of the Shanghai International Film Festival. This year marks the 70th anniversary of the release of this film. Looking at the 4k restored version, I found that many details have not been experienced in the past. The classic is really worth reading again and again!
1. Before the official marriage, Hattori invited his fiancee's friend Noriko to a concert. Is this a lack of self-confidence in marriage, or is it a yearning for Noriko to discover true love before marriage? That lonely look on the empty seat beside you, is the rush of Hattori's emotions? (Whose inner wave is the sea at the end?)
2. Noriko rejected Hattori with a smile. Is she really unmoved? An escape from inner love? Does he/she look at each other and smile, silent and without emotion? Noriko's true thoughts may have long been suppressed and buried deep in her heart.
3, "I always thought he would marry Noriko", didn't I? There are too many unexpected and counterproductive things in life and feelings, and I can only sigh that God has made people.
4. Father's 6 "default/nod/um", from default, to nod, to nod um, to nod um and the incitement of the nose, Ozu took the trouble (some hysterical) to capture the struggle and pain in his father's heart, smile can not Representing joy, perhaps a smile is a synonym for sadness (in the subsequent scene where Noriko promised her father to marry, Ozu also asked Noriko to respond to her father 6 or 7 times in the same way), the confrontation between father and daughter is like crossing time and space Fugue.
5. My father looked out the window and said, "Tomorrow is also a sunny day." Even if the sadness spreads, life still needs to continue. The loneliness in the heart is handed over to time, and all the way forward, even if there is no sunshine, we can only hope in our hearts.
6. "Why didn't we travel together before?" Under the surface of warmth, Ozu's films are so cruel, because he ruthlessly exposes the essence of family relationships, no children can put themselves in their parents' shoes, only parents Take a short trip as a spiritual sustenance for the second half of life (Tokyo Story takes this motif: death after travel to the extreme.)
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