If it weren't for Matsuyama+kiko+ I really love the original book, I really don't want to give this Samsung one star.
Watching it with great anticipation. After all, Matsuyama's acting skills and Kiko's face, I really like to see. Even if you look at the photos and find that Kiko doesn't have short hair cut, it doesn't matter if some details are really different from the books, after all, it's a movie adaptation, and the taste is good.
Yes, it tastes good. So this so-called (pseudo) literary film, if the title of this film does not use the original Haruki Murakami, I will definitely think it is just the same name.
I even think that Chen Yingying didn't read the original book at all. He just read a more detailed outline of the story, and then extended a story based on his own preferences.
Let's not talk about the failure of Naoko's role selection, Kikuchi Rinko is undeniably a good actor, but no matter how outstanding his acting skills are, he doesn't want to be unconvincing. What's more, I don't know if it's because of the script in this film. Her son, really has nothing to do with the novel.
Appearance must not match. Obviously I feel that I am not at the same stage as Matsuyama and Kiko. What's even more funny is that Reiko's choice, so young and beautiful, is actually not bad, but compared with such Naoko, I can't describe the charm of middle age in the book. woman facing up.
Acting, I really think it has a lot to do with the script. In view of the fact that the director thinks that she is the first heroine, so she really gives enough drama. But because of this, I am even more disappointed by it. Naoko is quiet on the outside, and it is her quiet appearance and self-repression that exacerbate her inner struggle and pain. In fact, I think the novel "Norway" has the same general tone. It looks harmonious and harmonious on the outside, but it is actually full of conflict and despair on the inside. Maybe the director was afraid that the audience wouldn't be able to understand Naoko's pain, so he added a screaming and mad story to her. Ah, spare me, director, when I saw it, it was really hard to accept. Now that I've finished watching the movie, I only have Naoko's bitter face and heart-piercing screams. Is this really Naoko? If it is Naoko, then Watanabe's obsession with her is really unique.
In contrast to Naoko, Midori, it was another failure.
In appearance, the green child is undoubtedly bland. Kiko's face, when I first saw Vivi, I thought she looked so different, it was a pity in Vivi. She is not a traditional beauty, but has a different temperament. Although she cannot 100% interpret Luzi, she can still give it a try to some extent. The hair is not completely cut short, and the clothes are not as out of place as in the books. Then Midori is not Midori anymore. From the outside, she looks plain and beautiful like a female college student. She is not a straight son, she will not suppress any of her thoughts, if she wants to do anything out of the ordinary, she will try, she is full of raw taste, she is a woman who cannot be ignored.
In terms of the plot, because Naoko's role has increased, her role has been cut a lot. It's really because of the deletion of the plot that many weird things about Midori became inexplicable. Many of her amazing words appeared amazingly, and some of them didn't even appear. I liked her chat with the male protagonist very much, but unfortunately the director was too stingy about it, as if he was afraid that the two sides would talk too much. It is because of this that I am even more inexplicable about the change in Watanabe's feelings for Midoriko. It seems that Watanabe is completely a libertine, who starts with an ignorant but curious female college student. The last I love you is really a failure, failure, failure! ! !
There is also the elaboration of the plot. There are many contemplative places in the book, and Chen Yingying is very self-righteous to reduce it. Such as Muyue, such as Yongze and Hatsumi. Especially Nagasawa and Hatsumi, I always feel that their love and way of getting along have brought a great touch to Watanabe. Watanabe even thinks that Hatsumi is the most beautiful woman he has ever seen, which shows Hatsumi's personal charm. Although she is not beautiful, she has given too few scenes, and she does not show any charm of Hatsumi at all, and Yongze is also, That kind of self-righteousness is also deeply disgusting.
There are many more, and there are some details in it that I dig out from time to time, and I will quietly reminisce about them, and the director ignores them all.
I suddenly remembered that after watching this movie, a friend of mine said something: Japanese novels, made for Vietnamese directors, were originally a joke.
Although this sentence is a bit negative, I think it is made by a Japanese director, at least in many aspects, he will definitely pay attention. That's not praise, but a kind of temperament, Japanese directors, even Japanese, have their own way of pursuing details and restraining feelings. After all, this is a matter of the atmosphere of the whole country.
Chen Yingying didn't say that you don't want to shoot it, but unfortunately, he made another film with the same tune as "The Taste of Green Papaya". Not all literary films are the same.
The only thing to appreciate? Is it the beginning? When I watched the beginning, I still vaguely felt a little bit of the original work, but unfortunately, it was just foreplay, and Chen Yingying was more gentle. and after? He is also very gentle, and even very euphemistically raped "No", making it completely a movie of his own style, which has nothing to do with the original.
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