I woke up inexplicably early in the morning and watched a movie when I was free. Unfortunately, after watching Yuan Ziwen’s "Icy Tropical Fish", after two hours of killing, indulgence, abuse, and depression, my mood was down to the bottom of the valley, chrysanthemum. Tightened unavoidably.
First of all, I declare that I try not to be spoiled as much as possible, because I think the greatest pleasure of a cult film is to welcome the sudden feeling of excitement, but I must admit that although the film is very cult, it is a cruel reality, despite its deduction. It is a good film of "evil taste" to the extreme of "evil" in the real world.
Mariko Wen, the Japanese director, is ashamed that he has never heard of it, but I probably saw his director’s work on mtime. I have seen his director’s "Kiko's Dining Table", "Styling Corpse", and "Mysterious Circus" three This work, so, is indeed the same as Takashi Miike. He is a cult director who is totally addicted to dislikes and fun. And I personally think that they are equally matched, both of them are strong in the Japanese film industry, and this film is undoubtedly one of the four that I have watched. The best one. (I heard that the director’s "Exposure of Love" is a classic and won the grand prize of the Berlin Film Festival. I look forward to seeing it in the future.)
Returning to the topic of this film, since I don't want to involve too much of the plot, I can only say that this is a story about the fate of a depressed, contradictory, and ordinary Japanese middle-class family. Speaking of this, I have to mention the so-called abnormal complex of Little Japan. The life-and-death original concept of competition in "Battle Royale", the extreme perverted possessiveness of love in "The World of Senses", "Visitor Q" is exactly the same as the film, from the perspective of an ordinary middle-class family, the ultimate "absence" It erupts in silence, and perishes in silence.” Of course, life choices range from patriarch level Teruo Ishii, Kurosawa Akira, Terayama Shuji, Oshima Nagisa, Tsukamoto Shinya, Fukasaku Kinji to present-day Kitano Takeshi and Miike Takashi. , Mariko On, Shimizu Takashi and other backbone forces, many major Japanese directors either erotically or violently showed their perverted complexes of different styles and angles, but in the face of these so-called "perverted" movies, we were too excited or too excited. After scolding nausea, have you ever thought about why? If you say that these are nothing more than to attract eyeballs and cater to the evil tastes of some vulgar audiences, then I think you really misunderstood, or look down upon others. Because what these directors strive to show is nothing more than an extreme destiny or an extreme choice of good and evil, expressing a view of life through an extreme contrast effect.
The fatalist goes: "Destiny is impermanent and cause and effect are like this." Rousseau also said: Life is free, but always in shackles. Facing fate, facing the shackles, and even facing the cruelty of reality, you can cover it up, express it plainly, and even expose it ruthlessly. I think this is the responsibility of a good film director, which is why "Alive" and "Overlord" Zhang Yimou and Chen Kaige in "Farewell" are what we admire and miss. The Jiang Wen of "Let the Bullets Fly" allows us to fly with the bullets, while "Promise", which is ethereal and groaning without illness, is full of the big girl's "Golden". "A" and even Jiang Wenmeng's lewd work "Sunrise" (really, it is a sensitive word), which seems to be more or less well-known in Jiang Wenmeng, makes it hard for us to feel or even like it. In fact, apart from mainland movies, I like Zhang Che, Tsui Hark (especially the early works), Qiu Litao, and Johnnie To in Hong Kong movies. This liking not only stems from the basic seriousness and correct attitude of these directors. The shooting skills and the level of storytelling are derived from the huge sense of identity gained while watching their movies. I am not afraid of being described as hypocritical. I am watching "Vengeance" directed by Zhang Che (this film is also "Farewell My Concubine" by Chen Kaige "One of the prototypes of "), see Tsui Hark’s "Knife" and "A Chinese Ghost Story", see Qiu Litao’s "Human Meat Barbecued Pork Bun", "Sex Workers Decameron" and Johnnie To’s "Dark Flower", "Underworld" and "The Detective", etc. After waiting for the works, I don’t know anyone else. I have a feeling of boiling with blood, almost receiving religious baptism, and have a new experience and insights into life. This is precisely due to the fact that these works are extremely exaggerated. But it comes from life and is higher than life.
As for Little Japan, we know that such a small country of Danmaru, with such narrow natural resources and living space, was the first and only one to complete the strategic task of leaving Asia and entering Europe (of course, this is also a kind of self-imposed and wishful thinking. After the end of World War II, they did their best to carry out post-war reconstruction and external expansion, and in a very short period of time, they achieved a parallel position with Europe and the United States in terms of material capital and spiritual level. At the national level, we have seen that small island nations have completed a kind of efficient expansion abroad. At the same time, at the national level, we have also seen that this single-ethnic population has a daunting national characteristic, split personality or people. The two-faced nature of is probably the best description for most Japanese people. Because on the one hand, we saw office workers squeezing the subway to work with briefcases, nodding their heads and bowing to anyone, respecting their bosses, friends, and meticulous work. On the other hand, we saw the same group of people (mainly men, of course). Indifferent to wives, indifferent to children, lack of care for relatives, especially elders (this is of course not universal, but it is also representative), drinking and chatting outside until late at night, and office workers in suits and shoes can be seen everywhere in the red light district. , Suicides, homicides, domestic violence, and other incidents frequently occur ———————— Two of the ones that impressed me the most with Imamura Shohei’s "Narayama Festival Kao", I very sordidly remember that there was a man who mates with a dog in order to relieve sexual desire The other nature is that the son sent his old mother up the mountain all the way to the corpses, facing the cruelty of survival. In this movie, satisfying the most basic survival and desire is the only demanding requirement of the villagers, and this also makes people basically It has become the most primitive animal, no different from an animal. But what can be done? ? ? Either live like an animal or die!
Is this extreme? I used to think that this is a purely objective attitude that completely ignores good and evil, and an extreme attitude toward the world. But looking back at history and reality, in the horizontal and vertical comparisons, we see that the development of mankind is: a revolutionary history in which mankind constantly revises the concept of human beings in order to survive or better survive. That is to say, we are constantly alienating and diverging from the human category in the process of development, that is, constantly quitting human affairs, and then after a long period of fait accompli, the process of revising the "non-human" category to "human". Lu Xun said Q is ignorant and self-deceiving, but what about us human beings, but what can we do?
A lot of nonsense, just the cold words surrounding the last actor in "Icy Tropical Fish": "Does it hurt? Does it hurt? Do you want to live? Life is pain. If you want to live, you have to know that it hurts." Throughout, I guess I did it, haha), I agree with the male protagonist. If I put me in the male protagonist’s experience, I don’t know how painful I will encounter, perhaps even more painful than the male protagonist. In the face of cruel fate, in the face of sudden choices, and in the face of invincible crimes, how do we respond? There are many ways in the movie, but there is no good end. Perhaps this is the reality of fate.
In fact, fate is like a fly, and a fly does not bite a seamless egg. So, in the face of the cruel reality, if we did not unrestrainedly "punish good and promote evil", did not wantonly release the most primitive desires, did not show the dirtiest and nasty side, demons would not find themselves so easily. As the so-called "food and clothing thinks about lust, all evil and lust is headed", please allow us to hide our most private, holiest, and also the dirtiest and ugliest part when facing the cruel and ruthless "big gangster" of fate, Close our legs tightly and clamp our chrysanthemums! Just as the movie poster shows, please pay attention to the expression of the male protagonist who resembles Dou Wentao, like a chrysanthemum who is clamping himself, telling us: hold on until you can’t hold it! Haha,
I was kidding. Finally, I strongly recommend this film to fans of cult movies who have "bad taste", please accept the baptism together! ! Of course, the original soundtrack of this film is great, great, highly recommended
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