【Doll】Heaven and man are one

1. The opening of the puppet show gives people a refreshing feeling, and it is also the overall symbol of "play is like life, and life is like play". The film also uses other symbols. The butterfly falling on the ground expresses the sadness of love being broken with its wings. The red ball toy played by Zuo Hezi represents the return to a good childhood, and the falling of the straw hat symbolizes the loss of happiness. The change of the four seasons not only represents the four seasons of nature, but also symbolizes the four seasons of life and the four seasons of love. It is also an expression of the philosophical concept of "the unity of man and nature". The red rope connecting Matsumoto and Zukazuko symbolizes the cause of love. Love is the fate of life and death. Although it may be a bondage, it is a bondage that both parties are willing to. It represents the tradition of Takeshi Kitano to "hold your hand and grow old with you". Ideal of love. In the end, the love between Zuo Kazuko and Matsumoto turned into two clothes on the shelf, and the affectionate lovers hung on the cliff branches are all symbols of traditional love. Passersby say that Zuo and Matsumoto are conjoined beggars to illustrate the general Japanese's numbness and ignorance of love. It is also the anxiety and criticism of Japanese souls and emotions in modern society. The film perfectly unites criticism and praise, and criticizes Japan. Citizen's snobbery and practical values ​​(Matsumoto's family forced him to withdraw from his marriage with Zuo Kazuko and marry the chairman's daughter).

2. Polyphonic structure, with the love story of Zuo and Matsumoto as the main thread that runs through the other two love stories, showing three kinds of love: the sad love that was abandoned and finally reunited (Matsumoto and Zuo Kazuko); the gangster and "Bento" The long-awaited love between "girls"; the love of two fans (Aoki sends flowers, traffic policeman Atsui has a crush and blinds his eyes at the end) to singer Haruna Yamaguchi.

3. The charming beauty of the picture, the colors come from the nature of spring, summer, autumn and winter, but also the transmission of the director’s aesthetic ideals. The four seasons of life and the four seasons of love are all gorgeous (spring and summer) and quiet and beautiful (autumn and winter), and cherry blossoms and roses in spring. The lotus swimming in the summer, the colorful red leaves in the autumn, and the purity and tranquility of the snow in winter are the love songs of Takeshi Kitano's soul, a tribute to nature, life, and the dance of love. The picture of his movie is a poem with movement in stillness and etherealness in movement, full of the artistic conception beauty of oriental aesthetics. The virgin forest and the silently flowing river are telling people a fairy tale of love and a legend of love. His color is not an exaggeration of a single red, but to show the rich colors of nature. The large red leaves are dancing with the green leaves of the forest, which is a sonata of different colors.

Fourth, the alternation of reality and memory, jump cuts, unconnected stories, and illogical images of dreams have formed the characteristics of the film’s time-space intersection and the fragmented post-modern style of the story. It can be seen that Jiang Wen's "The Sun Also Rises" is influenced by Kitano Takeshi (color, story), but Jiang Wen's film lacks the quiet beauty of Kitano Takeshi. It is a wild and unrestrained beauty.

5. Kitano takes the life, death, love, and violence of humans in correspondence with the four seasons of nature, and expresses his aesthetic thought of "life is like a cherry blossom, and death is like the quiet beauty of autumn leaves". The protagonist often looks like without premonition. Falling like autumn leaves on the river of time, he knows that there is violence in life, just like natural storms, snow and cold, but he did not directly exaggerate the cruelty of violence, but described life as the quietness of autumn leaves. Quietly and unknownly leaving the world, this gives his films a profound beauty of philosophy and religion that is imperceptible.

6. The music of "Dolls" does not pretend to be a posture, but in a graceful and slow rhythm, it forms a harmonious response with the tranquility and purity of nature and fairy tales of love. The audience seemed to be in a quiet moonlit night, listening to the legend of love told by the old man in the quiet mountain stream. The picture of the film is rich in Japanese art and even the elegant and tranquil beauty of Eastern art.

7. The theme of the film is still the praise of true love. Matsumoto and Zuo Kazuko share fate, the love of life and death; the love of the boss and the "bento girl" that will never change color in the washing of time; Wenjing (a secret love singer) is infatuated with Yamaguchi Haruna His love, blinding his eyes, and holding hands Haruna’s life-shaking actions are all conveying the meaning and ideals of love in the director's heart.

8. Characters: Zuo Hezi’s innocence, children’s dream world, like toys, flowers, persistence and longing for love. Matsumoto's kindness, repentance, and loyalty to love; the big brother's sense of responsibility for love when he was young, and went to the world for the happiness of each other. "Bento Girl" has been waiting and guarding for love all his life; On Jing's sacrifice to the loved one deeply shocked us.

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