a mess.
When the pirated resources of "Haijie Diary" were circulated on the Internet, most people's first feelings after reading it were estimated to be unparalleled. That's right, there are four beauties who are full of differences, ranging from girls to mature women. Walking in the beautiful seaside scenery of the ancient capital Kamakura, it is difficult to be beautiful. Beauty is a kind of praise and a cover. "Sea Street Diary" uses beauty to cover the daily crisis and the breakdown of relationships, which forms a continuation of the same line with Hirokazu Kore-eda's previous works. The director, beloved by Western film festivals and Chinese audiences, is often talked about his relationship with Yasujiro Ozu and Taiwanese director Hou Hsiao-hsien. People will describe Hirokazu Koreeda's images and plays in terms of inheritance of mantle or style, for example. Yasujiro Ozu echoed him in the regularity of the composition and the non-violent destruction of order, while Hou Hsiao-hsien opened up a connection with Hirokazu Shiekeda in the relaxed performance of the characters. It is probably the above two reasons that make the secular movie-watching experience associate with the three oriental directors (the secular here is not a derogatory term). It is undeniable that the three have commonalities in the understanding and creation of video and drama, but there are essential differences in the interest in their expression in the drama. When the new wave of Shochiku was booming in Japan, the "Three Musketeers of Shochiku" headed by Nagisa Oshima sharply criticized Ozu's ignorance of the torrent of the times. At that time, it was already in the late stage of Ozu's creation. However, Ozu's interest lies in the extraordinary nature. Everyday, he will try his best to express the beauty of everyday life in a collapsed post-war society, and use this kind of excessive beauty and rules to downplay the extraordinaryness of an era, because in the perspective of history, extraordinary Sex is always fleeting. It is Hirokazu-eda, on the contrary, his creations grow out of everydayness, and the non-routineness that arises out of everydayness, that is, the crisis in everyday life, is the constant focus of Hirokazu Koreeda. ” and then dissipated.
"Sea Street Diary" did not jump out of this framework. It was Hirokazu Kore-eda who saw and consciously emphasized this non-routine in Yoshida Akio's comics, but this time he didn't do it so ruthlessly, but instead paved the way for more beautiful daily life, which reminds people of his "Miracle", which may be It is a kind of inertia when he deals with the relationship with the unfamiliar small city. The daily life in "Haijie Diary" is a daily life without blemishes, so this crisis is also a clean crisis. In short, it is an attempt to rebuild the family relationship with the four sisters as the core, and protect them from the shadow of their parents and growth. The crisis encountered when the branches and leaves of the film were disintegrated, and the maintenance of this relationship was spread to a region, that is, the place where the film took place, the neighborhood of Kamakura. Because it is not so ruthless, when the eldest sister and the youngest sister climbed the mountain in Kamakura and shouted out the feeling of release in the heart, they could not get a deeper resonance, which made the film look more like a healing Japanese TV series. .
In "Haijie Diary", the father's bloodline
, the absent father shows the effect of being "present" all the time. The film begins with the news of his father's funeral, and is deeply branded as his father in the subsequent character relationships. It was Hirokazu Koreeda who beautified the father's blood in the four sisters, and made the father's blood a key language in the sisters' communication and understanding. The two mountaineering trips were words with obvious intentions. Whether in the inland without the sea (where the father moved to) or the hometown of Kamakura, the scenery that the daughters see is actually the image of the father. One is like a mountain and the other is like the sea. .
The bloodline of fatherhood is also a pervasive expression interest in Hirokazu Shiekeda's works. "Like Father Like Son" is a question of the identity of the subject of fatherhood, "Walking" is the dignity of traditional fathers, and "Miracle" is the director's Another, lighter, paternal existence imagined by my father before, contrasts with "Never Stop". Lost family members (the deceased husband or family) in "The Light" and "Distance" can also be understood as fatherhood. In "Haijie Diary", the father's bloodline is overly beautified, and it has become an inevitable acceptance in the continuation of life. Therefore, the father's selfishness and irresponsibility have been downplayed into a beautiful memory. And the stepmother of the fourth daughter Ling is an imposed "evil" setting for no reason, which is the unsatisfactory part of "Haijie Diary".
life is hard
The main body of the film is the self-discipline of the eldest daughter Xing and the self-blame of the youngest daughter Ling, as well as their final liberation from self-discipline and self-blame. This self-discipline and self-blame reflects the difficulty of living. It was Hirokazu Kore-eda who saw that the hardships of living mainly came from two reasons: selfishness and the loss of family. It is Hirokazu Kore-eda's understanding that selfishness is the reconciliation of animal nature and human nature. After all, people must consider their own growth in order to make others' love look forward to them. He always sets a contrasting responsibility in each selfishness, such as the eldest daughter and mother in "Haijie Diary", the eldest son and mother in "Nobody Knows", but this time the balance is not tilted, and It is to objectively maintain a balance, so there are difficulties and good things in living. Maybe it's because he's too old to be too gentle to criticize, although criticism has never been his focus.
In "Haijie Diary", the balance of living presents four states: the eldest daughter is fortunately an old house, and she is forbearance and restraint. The old house was moved by the feeling of escaping, but returned to the heart to stick to it; the second daughter is wine, and after being violent and unrestrained, she meets calm and mellow; the third daughter is fish, who likes to find stability in repetitive movements, but falls in love with the heart A man from a distant mountain; the fourth daughter is a plum, young, waiting for a rainy season.
Healing of Nostalgia
This is not the first time Hirokazu-eda has dealt with his relationship with an unfamiliar city, or a city where he exists as a traveler. But obviously he loves Kamakura in "The Sea Street Diary" more, so much that he turned it into a world full of tenderness and reconciliation. It was Hirokazu Kore-eda who tried his best to present Kamakura's kindness, the gentleness of people, and turned it into an overly beautiful utopia. Beauty is also a derogation. The opposite of beauty is ugliness, and when he tried his best to paint a utopian picture to heal his nostalgia, he just reflected the ugliness behind this non-existent beauty. It's just that Hirokazu-eda's beauty is too sweet, so sweet that people forget the ugliness behind it, it's too much.
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