Speaking of Kiabas Kiarostami, he has always been positioned as an art film director who lacks market value and topicality. He has made low-cost productions in Iran all his life. Although he has won awards at international film festivals, he cannot change the plot and hot topics. And the fans who buy tickets are inertia. In recent years, he has tried to rush out of Iran and break into the big world. In 2010, he went to Italy and completed the "legal copy", which allowed the French actress Juliet Bellox to take the Cannes Film Festival actress throne. In 2012, I went to another city and let my sisters work "Like Bathing in Love" to participate in the exhibition, but it didn't work. Has it been proven time and time again that the master's power fades like Aaron Rainay? Or is the cast used in the later film not as good as the previous film?
"Legal Copy" stars Juliet Belloxin as the owner of an antique shop who, because of his admiration for a British author, leaves his phone number at the launch of his new book in hopes of his favor. After the British writer played by singer William Simmel travels to Italy to promote his research on the fact that fakes are more successful than real ones, he meets the heroine by phone number, and the two make a day trip to a nearby town. The whole story is intertwined with the dialogues of two people. In the plot, the two people are mistaken for husband and wife. As a result, the main part of the film is the conflict between the two people who are willing to play husband and wife. After all, love and marriage cannot be redeemed through acting. , the results are tit-for-tat with each other, but cause the viewer to reflect on the redefinition of the preconceived views of the original and the counterfeit.
The "legal copy" was taken in Italy, but the story happened to a French woman and an English man. This subtle combination cannot be accidental. Europeans have a long history of interpreting love, and the Japanese have a detached temperament for emotional expressions among Asians. "Like Bathing in Love" appears as a sister work, and the location is Japan in Asia. The rental girl, played by the young girl Takanashi Rin, was summoned to an old professor's house in Yokohama on a tired night. Old records turn out yo-yo singing, like someone in love. The girl ignored the candlelight on the dining table and fell asleep, leaving the old man leaning on the painting to accompany her. The famous stage actor Masashi Okuno first appeared on the screen, playing the role of a gentle old professor, willing to drive a long distance to send the girl back to school to take the exam, and even met the rude boyfriend of the girl played by Ryo Kase, who did not deny that he was mistaken for his grandfather, and then Start a long dialogue in the carriage... everything is like a lover bathing in love. How the audience treats the original—the jealous real boyfriend and the fake—uncomplaining fake grandfather—makes a lot of sense.
The brilliance of "legal copying" lies in the fact that the actors successfully annotated the scene within the scene, how to make the audience in the game of acting as a couple, even think of their own similar scenes and pick up the dialogue - especially in a restaurant scene, when the camera is correct Showing the heroine's statement, the audience plays the role of the "husband" sitting opposite, thinking of their own point of view - through Juliet Pilot's wonderful performance, the incisive dialogues are compelling and become the best demonstration to lead the audience to participate.
From the point of view discussed in "legal copying", the extended "like bathing in love" was titled by the director as "the end of the play" to bring the whole discussion to an end. The entire production of "Like Bathing in Love" uses Japanese, only the script and the director are from Iran. Following the pattern of the previous episode, the film is also performed in Japanese, and the scene in the old professor's house and the car driven in the film are very particular - the famous painting "Teaching Parrot" by Chiyoji Yazaki is used as the topic of the meeting between the young girl and the old professor. Assuming the old professor's response to the call, in fact, Yazaki and Yazaki like to paint with Japanese girls, and they only knew each other by voice. The old professor drives a "luxury" family station wagon of German petty bourgeoisie. The phone at home is still the one with a cable. The vinyl record is the 1957 Ella Fitzgerald version of "like someone in love" - showing his stay era. Mr. Abbas handled most of the dialogue scenes with a long shot in the same vein as the Japanese master Yasujiro Ozu. From the bar to taking a taxi to the professor's house and back to the car, the exchange of scenes is like an Iranian road movie. In the middle, he talked about the attitude of bathing in love from the bar, went to the old professor's house to miss his deceased wife, heard his boyfriend in the car saying that he must teach his wife a hard lesson, and then returned to the professor's house, from the neighbor's old woman's mouth. The unrequited love of the old education has passed away - everyone starts to write their own opinions from "If I love someone...".
Abbas, who has lived in Iran all his life, left his hometown with French funds, and then went to Japan to demonstrate. When it comes to performance topics, he still has strong Iranian-style questions about human feelings. In the form of a movie poet, let the fans experience how his movies legally copy you and me, bathing in a scenery of love.
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