The 4th #法罗岛电影节# will bring you "Good Morning" on the 3rd screening day of the main competition unit. Here is the evaluation of the publication group!
Toco:
The good morning photography style really made me addicted. I sighed how Ozu took pictures of ordinary daily life in a fun and comfortable way. Probably this is the style of the Japanese. It can be from the small and trivial things of daily life. Dig out a different style.
Mimi:
If you only see the daily side, he must be unhappy.
Gray cat:
The inability of the lens to move is no longer a disadvantage.
The story is very weak but it does not prevent it from being a spiritual movie.
Troubles and trivial matters and childlike pleasures are just like the two in the short life film, flowing quietly. Simple and plain dialogue and performance, childish timidity and temperament are hard not to recall the beauty of childhood. The color combination is rich but distinct. It is not only a feast for the eyes, but also not as disturbing as macarons. Mainly with warm colors, supplemented by smaller frames and lower camera positions, the compression of space can make the film more objectively observed but full of picture temperature. In addition, the soundtrack of the movie has a lot of stepping points and the action of the characters, the melody is cheerful and moving, and it is also interesting for the use of a large number of western musical instruments. The performances of the actors are calm and natural, the children can't help but laugh again and again, and the costumes of the characters are also very eye-catching.
The seemingly loose structure in the narration is actually the cherish and nostalgia for the childlike innocence. The scattered in the first half is actually a clever pavement for the ending. The interweaving of multiple groups of characters and multi-line relationships is divided into three layers from an acceptable and interesting point of view. It is a secret of "Good Morning".
Want to be you:
I still can’t accept Ozu’s audio-visual, especially when the characters are talking, the characters’ faces are facing the camera, and the characters have a skinny smile, and they are slow and uncomfortable. The sense of peacekeeping is really chicken-skinned. pimple.
Aurora vovo:
Ozu’s obsession with form makes me a little incompetent to appreciate his works...The characters in his works are often carried. In order to achieve the beauty of form required by Ozu, they deliberately use their actions/postures. Put it into a state that is aesthetically pleasing but makes the audience a little confused. In "Good Morning", Ozu continued to explore the parents of Japanese middle-class civilians, in an attempt to achieve a certain reconciliation between the traditional "little fortunate" life and modern fast-paced Japanese society, resulting in the effect of modern urbanization and pastoralism. The interesting aspects of the trivial life of the Japanese people are multiplied and then the audience feels poetic and empathizes. But I think the problem lies here. Ozu tries to return to life and extract the beauty of the short and trivial lives of the parents of life, but for his own aesthetic requirements, his behavior is too obsessive, which leads to the true alienation from life. This return The contradiction between authenticity and deliberate performance is difficult to reconcile in Good Morning. (Good Morning's performance seems a bit unnatural, even though the photographic composition is perfect) And in the presence of this major contradiction, fortunately, "Good Morning"'s plain and interesting life-flow comedy script also made a fortune for the film. We cannot ignore the influence of works like "Good Morning" on later Japanese family melodies and chat comedy movies. (For example, Ozu cited typical examples of middle-class families in Japanese cities in Good Morning, which is why Good Morning gives me inexplicable familiarity/intimacy)
PS: The little boy in the film is really cute.
Sweet tea ♂ me:
The parents are short, the shots are very good, and the shots are cut in seconds.
Shang Xiu's movies:
The female neighbor who moved out told the truth, "There are too many things." It can end with the third-to-last scene, and the truth is hidden under the "nonsense".
Dan Stevens:
Although most of them are bad from a small view, there are very few who can really achieve "small and trivial" but not mediocre. There is no doubt that "Good Morning" brings this to the fullest. Who says that adults are fuel-efficient lamps? They are much more "bad" than children.
City of Philharmonic:
Such a beautiful day
Pack your bags, take the old train, and escape the hustle and bustle of the city
Breeze and smooth
Through the tunnel in the mountains, the scenery along the way passes through the window
The train slowly entered the terminal
Walk to the long vacant wooden house in my hometown, havetily tidy up one or two, and cook a few delicate dishes
Sit alone in the garden and enjoy tea, the sun is warm
It gradually cools at night, the stars and the moon are brighter, and after a day of playing, I feel a little sleepy and no longer support the spirit.
Light snoring accompanied by the noise of Xia Chan
In the early morning of the next day, the frost and dew had already crawled on the grass.
Ozu Yasujiro's work is like a flower arrangement, like a plate of sushi, like a porcelain cup for wine, like a kimono, like a train, like a wedding, like a funeral.
It's like "Good morning".
Elegance, exquisiteness, and politeness are the faces of Japanese people and Japanese society that his films show us.
One grass and one leaf, one meal and one meal, pots and pans, pavilions, clothing, laughter and curse, joys and sorrows, all reveal a pleasant harmony
Harmonious and fun
Excellent director skills have allowed Ozu Yasujiro to derive infinite vitality in the small structure of "Good Morning". The trivial friction between neighborhoods and the small contradictions within the family are very close to the lives of ordinary people. It is true and ridiculous. Thoughtfully.
The performance of Ozu’s queen actor Tomomi Kasa is as perfectly integrated in the film as in other classic films of Ozu, such as "Tokyo Story", "The Taste of Saury", and "Late Spring", no need to say more. On the contrary, Haruko Sugimura, who has repeatedly appeared in the works of Japanese directors such as Ozu Yasujiro, Kurosawa Akio, Naruse Mikio, and Mizoguchi Kenji, once again dedicated a "disharmonious" performance in a harmonious atmosphere. A character with slightly incomplete morality and character has become the only three-dimensional and vivid character.
#FIFF4#For details on the scores of the main competition magazine, please refer to this link
View more about Good Morning reviews
