Blue silk and white hair, red lotus in full bloom, Bobonnie, the
golden moon
rises in thousands of dewdrops,
only to break the impending dark night cage
can it bloom in your dreams and
start a thousand-year pursuit.
Sailing past parallel fleets
seems unpredictable. cloud
all this is to follow your trail
-
on contrast and control -
at first glance, "Millennium Actress", that everywhere and contrast controls. The release of "Millennium Actress" in 2001 coincided with the "Spirited Away" sweeping the world with a thunderous momentum. In this way, Chiyoko with a mole on the corner of his eye was completely defeated by the chubby Chihiro, and was forgotten in dust. corner. Compared with the environmental protection theme of "Spirited Away", the love and life of a woman in "Millennium Actress" is weak even though it is intertwined with the entire history of Japanese film. Although, "Spirited Away" is somewhat diagrammatic and preaching. The so-called humanistic care seems a bit cheap, but "Millennium Actress" is dazzling because of its strong spiritual power, which makes people have to admire and shed tears. The difference between prestige and ignorance is so great.
Regarding complexity and simplicity-
the form of "Millennium Actress" is very complicated, such as butterfly markings indistinguishable. The 75-year-old actress Fujiwara Chiyoko, who has retired for 30 years, asks "lotus sakura?? ┕ Mirror Mu Xiyi ⒒ ㄔ to make an appointment with a dry bag spring?? Bao?? Nasong?? Wei Jiu ( C) The plot of the film is shown, from period dramas to war spy films, from post-war fashion dramas to sci-fi monster films, dazzling and dizzying. There are four layers of time and space in the film: the time and space of the past movie, the real time and space of the past, there are Tachibana and The time and space that photographer Hu Ji participates in, and the time and space that is being narrated at the moment. Director Jin Min is like a magical magician, enlightening history, dismantling time, distorting film, and recreating reality. Anything is possible as long as it is out of his narrative needs.
The most amazing thing about the movie is that even though it walks through such a complex segment, the audience will not feel weird at all, nor will it be confused. One is because the animation itself is more free and magical, acquiescing to whimsical and supernatural work; second, because the story is fancy but the emotion is simple. In any different story situation, the mood of loving someone, the mood of looking for someone, ecstasy and great pain are common. Everything is background, only love is true.
Regarding search and dreams-
it is said that it is a thousand years of waiting, waiting is not a thousand years, and actresses are not just waiting. Rather than waiting passively, it is better to say that she is persistently searching. She goes beyond the barriers of time and space and history, crosses the boundaries of film and reality, and runs non-stop with the toughest courage of women in the world: World War II During the period, she used a 14-year-old childish face to run in the snow station; she ran in the occupied northern China; in the Warring States period, as the surviving princess in the city, she ran on a horse; in the shogunate period, she wore wooden clogs in the brothel in the snow Running; in the Taisho era, wearing a cherry blossom kimono and riding a bicycle; in the Showa era, on a cold rainy night, she ran through the dark woods; even on the desolate moon, wearing a heavy spacesuit, she marched hard...Chiyoko Always shining eyes, head high, long hair fluttering, holding the key tightly: "We must see that person!"
Searching is the theme of many movies. Waiting is the fate of many women. Wandering and struggling between waiting and searching, a life is extremely long, but a thousand years is only a day-a day of encounter. It was the era of black and white wars, and only the girl was a bright red scarf tied to his injured leg, and she was tied to a lifelong obsession. A key to open the painting box keeps a promise: to meet when peace comes, she will return the key and go to the snowy field of Hokkaido together. In the snow, he will complete his unfinished paintings.
"Millennium Actress" seems to be about a woman and her love. This kind of love that never gives up appears extremely great against the background of time changes, dramatic changes, changes in the world, and life and death. Chiyoko became a symbol, a spirit, and a fairy tale. I always feel that this kind of spirit does not only point to love, but also to everything: rebelling against the setting of life, keeping innocent and great dreams, stubbornly living with one's own beliefs, even if it suffers from loneliness and time. Just like the key man in the movie is always blurred, he is no longer a specific man, but can become a symbol of any dream-it does not matter whether the dream can be realized, the important thing is that the dream always exists. Therefore, at the end of the movie, Chiyoko said at the moment when he was heading toward the unknown space: "It doesn't matter whether I find him or not, I like to follow that person."
About watching and intervening-
first - time audiences are often inexplicable: why Tachibana and Hu Ji have been Before and after running in the story? I think the setting of these two roles is really the most brilliant work of "Millennium Actress". At first, the story was miserable and the feelings were heavy, and the two men adjusted the atmosphere. Uncle Tachibana's fan-like appearance of forgetting to die is really silly and cute, and Hu Ji's gag on the side also adds a sense of joy. Secondly, these two characters in the movie, from watching, peeping, stalking, visiting, evaluating the past, intervening in narrative, playing roles, witnessing history, completely subverted the old movie concept, and created a new perspective. Tell the space. Just like in the novel "The French Lieutenant's Woman", the author directly jumps out to play the role, the reader is no longer just passive, but becomes equal to the author; in the movie, the audience not only laughs, but also seems to be in the film life with Tachibana Tokichi Adventure, and when the old Tachibana looks back to the young Tachibana, the cartoon becomes profound. This is a life review.
About the lotus and the witch-
there are two images throughout the movie: the lotus and the witch. The lotus flower that blooms quietly in the pond of the residence where Chiyoko lives in seclusion is the symbol of Chiyoko. In the movie, Tachibana confessed: the flower language of lotus is purity. The lotus will not turn into mustard grass because it grows in the mud. Similarly, the noble Chiyoko, as Tachibana declared before reunion: "This woman can never grow old and decline!"
In a movie with a Warring States background, Chiyoko meets an old woman with long hair on a dangerous building under siege by rebellious soldiers. He spins a spinning wheel like a wheel of irresistible fate, tricks her into drinking a thousand-year-old tea, and curses her for life. Tormented by love, scarred. (This paragraph is very similar to Kurosawa Akira's "Spider's Nest City".) Witches and curses appear every time Chiyoko is hit hard by fate, becoming the incarnation of bad luck, reminding her that this search is futile. At the end of the movie, the elderly Chiyoko stared at her face when she was a girl in the glass frame. Qingsi faced Shirayuki, and the witch was reflected on the glass. She suddenly found that there was a mole in the corner of the witch's eye, and it was herself. No wonder the witch said: "I hate you very much, but I love you very much..." The witch is actually her demon, her fear, worries, fear of old age, and doubts about herself.
At the end of the movie, Chiyoko closed his eyes in a deep sleep, but flew into space like a girl. The director replaced death with departure, suggesting a kind of reincarnation and rebirth. The witch disappears, and Chiyoko once again embarks on a journey to find the key man in another world.
"Do you have to go?"
"It has been agreed."
"If you set foot on the road of no return, you can't look back!"
"I promised to see him!"
This time, she must be able to find him.
PS: "Millennium Actress" plot summary The
aftershocks of the Hanshin earthquake have not ceased. The president of the lotus company Tachibana watched the final work of actress Fujiwara Chiyoko in a small room and saw the last scene. The photographer Huyoshi reminded him that he should visit Chiyoko. This It is to commemorate the special series made by the dismantled Yinying Film Company. Chiyoko is the biggest female star in 70 years. The window of the car turns into a frame, and while rewinding, the fragments of Chiyoko's life are revealed.
In the mountain mansion where Chiyoko lived in seclusion, a pond of red lotus quietly opened. The young and thin Chiyoko accepted the interview with a smile and said that the earthquake was fate because she was born in the Great Kanto Earthquake. Looking through the black-and-white photos, my father died during the earthquake, and he relied on the shop and mother left behind by his father. The ignorant girl running in the background of the war in black and white photos is the only bright color. The old and humble Chiyoko turns into a 14-year-old childish Chiyoko. The first story appears in the movie: the mother severely rejected the boss of the film company and disapproved of Chiyoko being an actress. Tachibana and Torachi took photos from the sidelines. Chiyoko left angrily, and was knocked down by a man in the snow outside. The blurry man extended his hand to her affectionately. Chiyoko put his hand in his palm, and put his life's feelings in his hand. Scarface police followed him and said that the man was a reactionary thought criminal. Chiyoko concealed the man's whereabouts and hid him in his warehouse. Tachibana sighed: "The girl is so bold!" Hu Ji kept muttering, "We are simply a perverted tracking...Boss, what kind of photography is this called? Can it be broadcast?" Chiyoko tied the scarlet scarf to the stray. The painter's injured leg was also tied for a lifetime of obsession. A key to open the painting box keeps a promise: to meet when peace comes, she will return the key and go to the snowy field of Hokkaido together. In the snow, he will complete his unfinished paintings. The next day the man left, Chiyoko ran desperately at the railway station in the snow and fell to the ground. Tachibana wailed from the side: "I have cried 52 times in the cinema watching this scene!"
It turned out that this was the first debut film made by Chiyoko.
In the second movie, Chiyoko came to northern China, and the director Otaki took away the key to her play and wanted to occupy her mind. The actress Yokoko, who ridiculed her, bought the fortune teller and told Chiyoko that the person she was looking for was in the north. The desperate Chiyoko took a train to the north, and met a horse thief on the way. Tachibana worked hard to protect Chiyoko, but Hu Ji was terrified: "The real horse thief!" Chiyoko pulled the car door hard and opened the city from the Warring States period.
Chiyoko became a princess in the Warring States Period. He was under siege and his father was dead. Just as he was about to kill himself, Chiyoko met an old woman with long hair on the dangerous building under siege. He shook a spinning wheel like an irresistible wheel of fate. , Lied to her to drink a thousand-year-old tea, and cursed her to suffer from the fire of love and scars all her life. (This paragraph is very similar to Kurosawa Akira's "Spider's Nest Castle".) As soon as Tachibana transformed into Nagato Morigen, and wanted to protect Chiyoko to the surviving adult, Hoyoshi was stunned. Chiyoko mounted his horse and ran towards the man. Scarface ran after him.
Fleeing to a small road, Chiyoko becomes a female ninja again, and fights Yuzi to go to Tokyo to rescue the wandering samurai who confronts the nobles, while Tachibana is transformed into a wandering man with a blade of grass in her mouth, and her skills are vulnerable... …
A handful of Chiyoko who was overthrown turned into a geisha from the shogunate era, the brothel Taifu Yoko imprisoned her in jail, and she cried out to see that person. Tachibana was the guy in the shop and let her out. In the snow, Chiyoko was knocked down and reunited with Key-kun. Key-kun told her that he would be waiting for Chiyoko in Hokkaido. Scarface followed and questioned Chiyoko, the bruised and swollen Tachibana stood in front of Chiyoko, blowing a whistle that couldn't be heard...
Chiyoko rode a horse, a carriage, a rickshaw, and passed by. Changing movie set. Tachibana pulled the rickshaw and ran panting. In a blink of an eye, Chiyoko was wearing a cherry blossom kimono, riding a bicycle during the Taisho period, was stopped by a scar face, and was thrown into prison. Tachibana spent money to redeem Chiyoko. When Chiyoko walked out of the prison, the key man was taken into the prison. Chiyoko slapped the prison door anxiously, shouting: "Let me see him!" The door opened, and there was a ruin of war outside.
On the ruins, Chiyoko saw the immortal wall of the warehouse in his home. On the wall is a portrait painted by Mr. Key: Chiyoko, a young girl smiling shyly, like a red lotus.
During the Showa period, Chiyoko kept filming, hoping to be seen by Mr. Key. On the set, the young man Tachibana began to do miscellaneous work. Her mother urged her to marry, but she ignored it. Director Otaki also expressed her admiration for her, but she did not respond. Otaki instructs Yoko to steal the key, and the frustrated Chiyoko marries Otaki. However, when cleaning after the marriage, I accidentally found the key. At this time, the disabled Scarface came to make atonement and gave Chiyoko the letter to her from Mr. Key. Chiyoko resolutely left home and ran towards the snowy field of Hokkaido. All the fragments of her running to find him appeared. Chiyoko ran across Godzilla and turned into a doctor, on the moon, a white wasteland. The lonely easel stood, and Chiyoko shouted: "I will find him wherever I go!"
An earthquake occurred during the filming of this movie, and the young man Tachibana protected Chiyoko. Chiyoko caught a glimpse of her no longer innocent face on the helmet, and the witch appeared. She left the film world and went back to her for thirty years.
At this point in the story, Chiyoko fainted, an ambulance drove by, and the movie theater in the distance was being demolished. The era that belonged to her has passed. Tachibana tells Houji that Scarface had already killed the key man back then, and what Chiyoko pursued all his life was the figure of an old man who could never catch up. Chiyoko passed away quietly holding the key.
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