"Tsubaki Thirty Lang", I remembered chatting with a layman a long time ago. He said that Buddhism is boundless, and even the Buddha's lifelong troubles will disappear when he moves his finger, and the whole world will be equal and peaceful. So I asked him if this is true, why can't the Buddha, who possesses great wisdom and supernatural powers, move his fingers? He said four words "Karma Rotation" to me profoundly. These four words refer to the most fundamental worldview of Buddhism, namely, the rebirth of cause and effect, the retribution of good and evil. Therefore, believers are required to "do not do all evils and do all goodness", devote themselves to the practice of Buddha, and go through hardships and pay off their karma debts. Get out of the sea of bitterness as soon as possible.
The full version of Hong Kong director Johnnie To’s "Big Brother" also talks about this problem. The big man who can see "cause and effect" desperately tried to protect Li Fengyi, who had killed countless people in his previous life, but in the end he couldn't change the cause and effect. Fortunately, he was finally able to see through the appearance, get rid of the burden, no longer cling to the cause and effect itself, and finally embarked on the road of enlightenment. Johnnie To once said frankly that he likes Kurosawa Akira, and was greatly influenced by this "movie emperor" in his creation. In fact, many of Kurosawa Akira's works do contain a strong Zen sense, such as "Zizan Shiro" and "Ran" , "The Desire of Life" and so on. "Tsubaki Sanjuro" is called its most educational work by scholars who study Akira Kurosawa, and it is naturally the same.
Tsubaki Saniro in the movie is a guy who does things with his head, in stark contrast to a group of passionate and impulsive warriors. For this character, Akira Kurosawa did not give any background introduction. He appeared on the stage with a series of yawns. His lazy appearance was laughable, and he was incompatible with the traditional image of a samurai with round words and glaring eyes. What is even more shocking is that in Bushido, dignity is more important than life. It is impossible for a samurai to accept alms, but Tsubaki Saniro directly asks the young samurai for money in the movie. What's interesting is that he is not greedy, and only takes out the amount he needs from his wallet.
All this is difficult to understand in the eyes of the samurai, in fact, this is the young ignorance and the wisdom of the middle-aged. Japanese boys are often the easiest to admire brave, loyal, and dignified samurai during adolescence. For this reason, they often wear a belt on their head or body and write the word "Samurai". Extremists will really die for the "master". , This traditional concept of Bushido is deeply rooted. Kurosawa is a swordsman and a samurai, but he did not stay in the form of appearance, but saw through the feudal bones. In "Tsubaki Tsubakiro" he asked the samurai to ask for money openly, which clearly meant those old and lacking. Sincerity does not have the reality of money, it is undoubtedly a painful blow to the dilapidated concept.
In the movie, the samurai and the bohemian Tsubakiro become a dependent father-son master-disciple relationship. In the whole incident, everyone relies on Tsubakiro to rescue the hostages safely. A very interesting scene is Tsubaki Sanhiro taking a nap in the house. The rich second generation (the samurai are indeed rich second generation according to the Japanese hereditary system) are nervous and excited. The door is opened by them forcefully again and again. Was awakened once. The meaning of this passage is similar to the beginning of Tsui Hark's "Green Snake", Fahai looks down on all living beings, and Tsubaki Saniro looks cruelly at the unworldly young warriors suffering from troubles and can't think about them.
Kurosawa shows the old wisdom of Tsubaki Sanjuro, an anti-traditional character in the movie, as well as the blood and recklessness of young samurai, and a more intelligent character is the rescued lady. This elegant lady shows a unique temperament of calmness and indifference no matter when and where. The husband is detained next door, and the samurai are anxious like ants on a hot pot, but she can easily chat about camellia with her daughter.
After seeing Tsubakiro, the lady did not admire him like the samurai, but gracefully said that Tsubakiro was an unsheathed sword. Although it was sharp, she needed to find a suitable scabbard. In a word, I am afraid that Saniro is willing to let the lady step on his body to climb the wall, because he realizes that the lady's wisdom is far superior to himself, and also realizes that the unsheathed sword is the lady's kind teaching to him. This scene is very similar to that in "Zushi Sanshiro", Zi Sanshiro takes off his clogs to pull the cart for the master. It seems to be just a humble action. In fact, for a real samurai, this is a formal and serious ceremony.
An unsheathed sword is a good analogy. The absence of a sheath does not mean that the sword has no master, but that the sword is sharp but does not know how to converge. In the Japanese samurai tradition, blood must be seen when the sword is pulled out of the sheath, and the unsheathed sword is destined to continue to hurt others and increase one's karma. In the end, there is only pain for oneself. Even if Tsubaki Sanjuro killed people for the sake of saving or justice, he also felt guilty.
Especially when it comes to treating hostages, he is about to kill people immediately, and the kind words of his wife are convincing, and the sentence is high. So Tsubakihiro began to reflect on himself after meeting the noblewoman. If Tsubakihiro was only wise and brave, then the noblewoman is the wisdom and compassion after she has really read the world. It was originally a righteous thing to save people. As an outsider, Sanjiro accidentally participated in and killed many people. This kind of karma would be Saniro’s own sin regardless of whether it was righteous or not. This is what Buddhism said, "Only Take your industry with you".
In the final battle, Saniro pierced the opponent's heart with a knife. The rich second-generation samurai were shocked. They didn't expect Saniro's swordsmanship to be so advanced. After panic, one of the guys pretended to be very professional and shouted "Good swordsmanship!". But at this time, Saniro was heartbroken. Seeing a group of guys who were obsessed with appearances and totally lacking in wisdom, they could no longer fight. They didn’t realize the sin and pain of murder but were subdued by the superficial swordsmanship, and those who didn’t understand would cherish it. Respect for life can only fall into the red.
In contrast to "Tsubaki Saniro" is the work "Hong Quan Boy" shot by Zhang Che in 1975. In the film, Fu Sheng played Guan Fengyi is a person like a samurai. He is passionate and feels that the boss is kind to himself (typical Bushido The relationship between the Chinese warrior and the employer) was caught in the struggle between the two interest groups. In the end, not only did he hurt others, but he also became a victim.
Therefore, people still have to hide the front and defend themselves, just like the Qinggan sword in "Seven Swords" is a blunt sword. Kurosawa used "Tsubaki Sanjuro" to denounce the ignorance of Japanese people, especially young people. In fact, all beings are suffering, and they often plant the bitter fruit because they cannot see the light of wisdom.
But what is the real wisdom? It's definitely not that the unsheathed sword is so frightening and painful. Just as the lady said, wisdom is a sharp sword, and it is also the "don't use a hidden dragon" in the "Book of Changes". A virtuous person will hide his strength and defend himself, of course, the premise is to "see through." In the end, it is just like the Buddha enshrined in a Buddhist temple. Because of its vastness, it will always be compassionate and solemn.
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