The advertising time ends. It is well known that all advertisements are exaggerated, so this film is not intended to show a harmonious and joyful bottom society.
This movie called "The Godfather" is actually just a social movie that is just a side-scrolling with the gangster movie in the inertial thinking, so violence and rage are limited. I am used to watching Wu Yusen's guns and bullets, Xiao Ma and people in the black and white trilogy. May be a little disappointed. There is no intrigue, no secret battle between the enemy and us, and no exchange of fire between the police and the bandit. The only exciting part in the film is the bike chasing the truck.
The protagonists are three homeless people who live with us in this world, but are completely ignored by us. Here is an old GAY who is old and yellow but still has a fire tree; there is a retired cyclist but his only hobby now is the alcoholic bearded uncle; there is also a runaway girl with a rebellious face full of rebellious and rebellious faces.
If you watch a lot of movies, you will find that if the hero and heroine are not handsome men or women or smart men and women, it shows a problem. The movie touches only one topic-human nature. The sensitive topic of human nature is rarely mentioned in reality, and it is basically covered up deep in everyone’s heart, and this movie is to lift the disguise of those people who look like dogs, and explore the softest and most fragile part of the heart. .
Jin Min is a person who knows how to tell stories with the camera. The film is permeated with Otomo's realism style, but the difference is that it does not hang reality in the pessimistic cloud, but is closer to market life, the language is rough but witty, and the life is poor but with dignity. The glamorous Tokyo street scenes, the high-class banquets of singing and dancing, the small sheds of scavengers in the park, and the damp and chaotic red light district. He seems to understate the story of the characters with many dragon-like dialogues, but he is thought-provoking to show the ecological conditions of the bottom of the society, criticizing reality and using those incredible fortunes to add a touch of warmth to the whole film. People will not lose the confidence to live.
Life in the city always has too many temptations, making it easy for people to get lost in the pursuit of fame and gain, and only see the small area in front of their noses. Most people admire what they don't have and ignore those they already have, such as feelings and virtues. Once the material disguise is lost, the person becomes like an oyster without its shell, like an ugly snot. We who are struggling in the whirlpool of material desire may one day also become homeless people. Their present is our future. The experience of the compassionate person is actually sorrow for his unpredictable future, but also bewildered because he doesn't know what he will lose.
A person who has nothing is lucky, because whatever he gets, although others discard it, it is worthy of gratitude to him. Kiyoko is a lucky person. She was forced to leave her parents shortly after she was born, but she unexpectedly received extra love from the homeless. In order to thank the three of them for sending their children back safely, Kiyoko's parents asked them to be their godfathers. The godfather, as the child's protector and guide, needs to have tenacious viability, a persevering character and noble morality. For those who have been neglected, what could be better than being re-accepted as a member of society as a reunion?
The three of them used to escape from their own world for one reason or another, and fled their warm family hastily. They once thought that evasion could solve the problem, but evasion was simply because they were afraid to face it. Through Qingzi's journey to find relatives, the three people who were perplexed and numb each recovered what they had lost, their most precious things. A Hua, who had no maternal love since she was a child, realized her dream of being a mother. The racer got her daughter’s forgiveness, and the runaway girl returned to her father’s embrace. This once again emphasizes the moving part of feelings. In this world, only relatives and friends can comfort you, tolerate you, and encourage you infinitely, so that you can be reborn in the frustrations.
This sad theme is no longer used as a tear gas in Jin Min's movies. On the contrary, what he wants to tell people is that the smaller the hope, the easier it is to realize. Down-to-earth, happiness is actually very simple. Family affection and friendship without material factors are the most precious treasures of mankind. In order not to sigh after losing, so cherish the present, because we are all lucky people wrapped in love.
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