I have always felt this way, but anyone who has a relationship with Haruki Murakami must be "Murakami" in order not to lose the opportunity to experience a long aftertaste at any moment. It's hard to tell if this is an illusion created by the tone of the pen, or a resignation to Murakami's spiritual world, a world where people and things are quiet and charming, and if it really needs something to prove the power of mutedness, that's perfect. . As long as you choose to get close, you have to listen to your wishes. So I have to put aside "The Smell of Green Papaya" and "Tricycle Driver". As the director of this film, Chen Yingxiong, to be ambiguous, has also become the Chen Yingxiong of Haruki Murakami, so there is no need to entangle. So is this a Japanese movie that was "disturbed" by Vietnamese tunes. In fact, Murakami has always been international, which also prevents his works from being simply labeled as "Nissan". As far as this film is concerned, a French-Vietnamese director, a classic of an old British band The work, as well as the soundtrack, also from the bass player of the British rock band, can be so well matched with a group of oriental faces and the soft and natural tones of Japanese films, but it is not unexpected.
"Norwegian Forest" cannot be mechanically imaged. The imitation and interpretation of the plot can only be superficial. The food is delicious but not necessarily full. The feeling of emptiness comes and goes without a trace. I can't follow the picture, even if I am moved by it at a certain moment, the brain gives a blunt order, and the eyeballs begin to obey their orders to produce a feeling of soreness, and finally I can't come from sadness, it is wrong from the source. As Midori said, "...the sadness is what it is. But it's not good. It's completely indifferent. It's not sad, it's not lonely, it's not uncomfortable, it's almost nothing."
If the delusions of breaking out of love and only talk about life and death, it is obviously wrong. In these "many sacrificial days", how has the affection of love ever been diluted, but the essence of love is filtered out in the continuous thoughts and reflections. The beginning of this stretch is sadness, but the other end is like a shadow. The past of love, those who are really hands-on, are more likely to be covered up by time, appearing in name only, or can no longer find a reason to be different from others, while those that cannot be clearly expressed and elusive are in the present, and even further in the future. , become your insistence on a relationship. Without further hints, I will be obsessed with that person. Everyone has to face many undetectable "sacrifice days" in their life, not only death, but also ending, dissolution, forgetting, farewell, indifference, awakening and rebirth. We bid farewell to the past all the time, only life The disappearance of the dead makes us suddenly realize, and only the unforgettable of the living makes the soul of the deceased have a firefly-like glimmer. This is the "deep く love す る こ と" and "strong く 生 き る こ と" (about deep love and about strength) mentioned in the film.
Maybe Naoko could be prettier, maybe Midori could have shorter hair, but in fact Rinko Kikuchi and Kiko Mizuhara are not disappointing, but Kenichi Matsuyama's image is closer to the shimmering light in my head The forest-like Toru Watanabe. Colin Greenwood's soundtrack also gives a good commentary to the film, especially the tune of "Time の Baptism を Receive け い な い も の を 読 む な" (reading things that don't fade with time), from which we can probably hear the passage of time The agility and persistence of love that seems to last forever. And The Beatles' "Norwegian Wood" is undoubtedly the soul of the film's hearing. It will take you to that cold house like a Norwegian forest, looking for the girl you "lost". If today's eyes are no longer the exchange of cups last night Light, then maybe it is more likely that she is just a preview in your hallucination, in fact, she has not come yet.
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