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In the books of Nogami Teruyo ("Waiting for the Clouds") and Hashimoto Shinobu ("Images of Compound Eyes"), Itami Mansaku is a figure (one of) who has been touted to the Japanese film altar.
If Mansaku Itami did not die in 1946 just after World War II, but lived another twenty years, would he rewrite the history of Japanese cinema? Because in the twenty years after the war, almost everyone (Xiao, Hei, Gou) had their amazing creative power and the second spring of movies. You can easily find the traces of the lives of these young directors on the "Movie Shonbo" director list: Except for "Akanishi Oyota", Itami Mansaku, who is named the god of screenwriters, has no director's work left.
The Dalin Declaration pays tribute to Yamanaka, who died at the age of 29, in the "Flower Basket". A "Human Love Paper Sailboat" seems to have achieved an amazing artistic achievement.
Terayama Shuji, who passed away at the age of 47, benefited from the heterogeneous cross-border complex and the misplantation of the term CULT. He enjoyed a high reputation in China and now has numerous publications. But you can't help but think that he is already among Cannes. What would it be like if you shoot for another twenty years.
In the Japanese films of the 1970s and 1980s, directors such as Shuji Terayama and Itami XIII were all suffering and anxious because they were in the midst of peaks and crazes. They can't hold high the flag of rebellion like Nagisa Oshima, and every film they make is like walking on thin ice.
As a father, Mansaku Itami died at the age of 46.
As his son, Itami thirteen, only made his first directorial work at the age of 51.
If Itami Thirteen did not commit suicide in 1997, would he have the opportunity to laugh at the bad director who also suffered from the exhaustion of his creative power? History has no ifs. Therefore, for film directors, if the level is evenly matched, if they want to leave a better position and more influence in the history of film.
1. To maintain a healthy and longevity revolution.
2. Don't die prematurely, don't commit suicide.
But these thoughts alone seem to be inexplicable. Why did Itami XIII, who shot "Dandelion", committed suicide? His brother-in-law Oe Kensaburo couldn't understand. As an audience, I don't understand.
The most pleasing film at the just-concluded Beijing International Film Festival was the Japanese film "Dandelion" in 1985. Director, Itami XIII.
In the film exhibition where technical handling and screening accidents are the key words, the film is perfectly presented: the dew point is at a glance. Especially in the cold rain of spring, the opportunity to walk into the Sanlitun Mega Cinema is the right time and place. At this time, you can make up for the picture of Yamazaki Nu and his younger brother, who walked into the ramen shop for the first time.
The sense of collective participation in the movie theater, the comfort of movies, food, crowds, and ramen restaurant space are unforgettable.
As the son of Japanese film director Itami Mansaku, the starting point of his directorial career is very high. The debut "Funeral" and this "Dandelion" both had a sensational response (although not quite to the taste of Japanese audiences).
"Dandelion" will be considered by most people as a gourmet movie. It has a main line, that is, how to open a ramen shop that is the best in the surrounding area and has an endless stream of customers.
Except for not being able to make a good bowl of Japanese-style ramen that allows customers to drink up the soup, Dandelion has not encountered practical difficulties such as urban management lifting the roof, social blackmailing, and landlord's rent increase.
Her two biggest shocks: one was when she saw Big Pig's head and passed out; one was when she dreamed of another ramen shop owner coming to hit the market.
In fact, Itami XIII uses a lot of improvisation and video game-style shooting, that is, the movie is not going to the ultimate goal of how to open a ramen shop with hard work and tears, but more like an Italian western movie. ——Recall that the team was set up at the end, and when the team worked hard to sprint, some people decorate, some make soup, some roll dough, and some contribute. It is the cowboy heroes who set up a team to do great things.
There are many character chapters and paragraphs in the film, which have nothing to do with the main line of the ramen shop. They are erotic teases and daily tastes related to food, playing with human hues and sensory desires.
Among them, the standard is responsible, and the paragraphs of Yakusho Hiroshi are good at it. He flirted and teased with a friend in the hotel, using fresh ingredients. The method of sprinkling lemon with salt and red wine cream may be an entry level. Live prawns jumping around, egg yolks coming and going, and the kiss of the harem with blood and oysters, it's an amazing picture of food sex.
It is not difficult to see that these scenes have strong sexual cues, especially two inexplicable and unexplained characters. Suddenly making such an appearance is like using a movie to molest an audience who is in the mist but extremely enjoyable.
The glamorous or spoof passages of "Dandelion", without exception, are like a film in a big studio by mistake. Especially in the death scene of Yakusho Koji, the pouring rain was covered with blood, and he was thinking about eating roasted wild boar intestines. Be sure to add something.
At first glance, this is a very fake drama, but what the dying person is talking about is still eating. The great source of humor is contrast.
Uncle Guai finished pulling his teeth, and then went to take ice cream to tempt Little Lolita, which also had a natural hint of desire. Why does little loli like sweets and ice cream that looks good? Is it related to breastfeeding at the end of the subtitles? Is it the so-called residual period of oral sex? We don't know.
This kind of weird irony is like the ladies of tricks in a western restaurant who don't care about their food. When you are hungry, do you still care about instinctive elegance?
Itami Thirteen especially likes to flip the camera suddenly, or run out of a bunch of dragon routines from the depth of field. Otherwise, it is an unnamed supporting role who runs through the field, but brings out high-end restaurants, MUJI shopping malls and other passages.
Watching the movie in the cinema, there was some French food and pasta, which made me laugh even more. At this time, I especially like the order of reaction of people with different smiles. To be precise, in this paragraph, at the beginning, everyone did not know why (there is a close-up of the English menu), but felt strange, why everyone eats meatballs and drinks Heineken (remember, this is definitely not the first Heineken beer) Once hacked, David Lynch’s movie is also terrifying).
If you put it another way, why is Itami so playful?
He stuffed too many ingredients in the movie, but he was not like Yoji Yamada, who only likes to take a bowl of eel and rice for family articles.
It would be better to say that it was Itami Thirteen's desire to express it, which was too strong. He wants to be humorous, he wants a mixture of joy and sorrow, and emotional comfort. Ever since, a very clichéd and inspirational "Dandelion" was filmed into a free and romantic look.
The men in the movies must keep the felt hats on their heads, like telling people around them that they are masculine and useful to society. Therefore, I would rather have met, and have to fight another game (although the fight is fake). The struggle placed under the viaduct is more of a portrayal of stressful struggle in the city.
The woman got her wish and put on a French chef hat. Although this is a Japanese-style ramen shop, the decoration style is very fresh, like today's Internet celebrity shop.
Such westernization should be a good thing in the eyes of the improved Itami XIII. Just like in the movie "Dandelion", he studied Italian westerns, now he studied French cuisine, combined with the most traditional and authentic Japanese ramen recipes, and brought the informant Chinese out as a backer.
"Dandelion" provides a lot of overtones, such as the housewife who went to make egg fried rice. Such a scene can easily remind people of the housewife in Yamada Yoji's "Family Suffering 3", who is completely tied up by the family's food and clothing. However, the egg-fried rice that was tumbling with life in that pot had a black and funny but sad feeling of sadness.
There are also the hobos who have hidden skills, you can fully understand that many delicacies can be enjoyed by the rich, but the excitement and remembrance of the taste buds are equal to everyone and given and owned by God. Eat energy and fruit belly, support a human life to continue to grow and multiply, and it is offset by death.
For example, in the MUJI store, the clerk and the old lady playing cat and mouse games, the editing montage where the children fight with the adults, and the modern Japanese city where the Shinkansen and elevated roads crisscross. These topics were originally outside the main story line of "Dandelion", which opened a delicious ramen shop.
If we must summarize the theme of the movie, what "Dandelion" tells is probably how a person, a baby waiting to be fed, grows up in pain (frustration) and food (caring). In this process, the care of women is indispensable, especially the greatness of the mother. In this way, Itami Thirteen turned out to be singing women, and he missed the self who grew up like being licked by a mother bear.
Because in the end, when you drink up the soup in the ramen bowl without any leftovers, there is something left in the movie, and the aftertaste needs to be condensed. To sum it up with the golden rule of Itamiman, just one sentence: A woman opened a ramen shop and raised her son on her own.
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