Let's talk about actors first. The biggest flaw is the goddess Naoko who is more tragic than Greek mythology in everyone's mind. Melancholy eyes, waterfall-like long hair, demure and gentle. This is everyone's imagination. Our director Chen Yingxiong is really unusual. The actor we were looking for has a thin face and a bloated body. His hair is only slightly over his shoulders, and he has been cut straight. It turns out that this is how your styling team defines people's names. Naoko should be It's straight cut hair. I really doubt that you guys have read the original book? Even the first chapter. What's more, this woman's expression is contrived and exaggerated. Wow, expression control, why don't you play "Gone with the Wind"?
For the rest of the people, the protagonist Watanabe is okay, not very handsome, and has a bit of a scholar temperament. It is said that this buddy is the L who amazes countless young girls in "Death Note" (of course, it is limited to that country of masturbation and its ignorant girls under the age of 15). I believe that everyone has also seen the makeup skills of the horror movie in the country of masturbation from this contrast. The image of L, if you make a cameo appearance in "The Grudge", wow, the box office, the box office, will rise like the house price. As for the other heroine, Midori, there are indeed many PLs. I don't know if it's because of the comparison with "Naoko". Compared to Naoko, she looks more innocent. Of course, to our disappointment again, our hero director did not respect the original book again, and Midori's funny and naughty was obviously not enough. And then there was Reiko, thinking how she should be wearing a ponytail, a jacket, and a cigarette, bright and sophisticated. Her appearance in the film is really Watanabe's little aunt. She should be Naoko's backbone, but she seems to be independent. In addition, her chest is not at all like the airport described by Murakami, so don't sing when playing Norwegian wood, it's better to be deeper. Besides, Hatsumi, the tragic beauty who loves Yongze deeply, in a word, she should be mature and generous, but her shape is just the opposite. I want to call our brother Xiong again, but you didn't expect her to play Naoko? ? There is a coffee table, but Brother Xiong has the most cup.
Back to the scene. I believe everyone knows the importance of scenes or artistic conceptions in movies, especially for such literary and artistic films. Personally, I believe that literary films should at least create an aesthetic effect on the scene, in order to attract the audience into that pure and pure artistic conception. But our director's scenes, especially the interior, were messy and vulgar. To give two examples, one is the scene of Watanabe and Naoko's birthday, at Naoko's residence. Naoko's kind of girl's room should be very clean and warm. But in this filming scene, behind the loving embrace of the hero and heroine, all I see is mess and disgust. The other is at the apartment of Kobayashi Ryko. Her home was originally an old house that has lived in for decades, but the picture of the movie shows us a modern new room. Especially the part where the two suddenly kissed during the conversation, what I saw was only two men and women of desire. If I were the director, this scene should be two people in the attic, leaning against the narrow old window, looking at each other, talking softly for a long time, and unconsciously the setting sun reflected on each other's faces that were hesitant to speak.
Of course, the film's exterior is beautiful. Especially the scenery in the nursing home. Unfortunately, I want to point out that this is where the other major failure of the film comes from. The field scenery of the sanatorium is beautiful and picturesque, and the two roamed and talked here many times. It's a pity that the characters killed the scenery this time. Watanabe's dull performance came, and Naoko's pretentiousness remained unabated. When it came to the kiss scene, I didn't see pity or sadness. As in the kiss scene at Midori's house, all I saw was a beastly lustful kiss between two sex-hungry young men. Of course, it is worth mentioning that this runs through the sex scenes in this film. Director, you know.
At the end, Watanabe called Midori, the phone booth, the expression of the protagonist looking around, stifled the entire artistic conception of the entire literary film. It's like the world's drool is sprayed on the world's bad movie screens. Should we be yelling, director, get out of class, director, get out of class. . . . .
Finally, what I want to say is that it is really the last resort to use language narration to connect the scene, but not to change the scene with some characters or details. It can only show that the director's technique is bad, and it can only show that the film lacks a soul-like screenwriter. Director, you know.
Here, I would like to apply a line from Stephen Chow: Hero! forgive me! ! (Why do you want to find a Vietnamese director who doesn’t understand Japanese culture to shoot your classics? Just shoot it, because you think your own coastline is not long enough, and you have to take it to our country to spread it. Japan appreciates Japanese culture but does not Let the compatriots who appreciate the Japanese calm down, Haruki Murakami calm down, Lin Shaohua calm down, think about Shunji Iwai, how good he is...)
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