The attitude towards women in Japanese culture has always been quite contradictory, both sacred and humble. Ah Chun in the film is such a character. When A Chun was forced to work as a prostitute for his family debt, there was a man named Tianshe who was later proved to be making counterfeit coins. After delighting A Chun, he threw coins on the ground, and other prostitutes swarmed up to pick up coins on the ground. Only Ah Chun still sits unmoved. The description of this plot adds a lot of luster to Ah Chun's image. Even though he was forced to sell as a prostitute, he still did not lose his character.
Since the girlhood, Ah Chun has been wandering all his life. The good times that he encounters are nothing more than a flash in the pan, and there is nowhere to talk about bleakness. Ah Chun in his childhood had seen good times. As his parents were servants of aristocratic families, they would not be bad in the world. But this did not become a platform for Ah Chun to go to the upper class, instead it became a ladder for her to fall into the lower class.
It can be said that if there is no A Chun's father, maybe A Chun's situation will be different. At least she will not be sold as a prostitute, and she may even marry an ordinary person and live a life of ordinary people.
Throughout the history of the world, almost every country has a history of female abuse, which can be found in various novels and movies. But in my impression, there is rarely an image that is so deeply persecuted by society and family. Achun is tough. In this situation, she is still alive and has not committed suicide. In the film, she can hardly see any sadness or dissatisfaction on her face. Of course, she has no resistance. This is probably a kind of passive negativity that Japanese women in society at that time have become accustomed to. Accept it.
In addition, I really like some of the vernacular of Ah Chun in the film, which is already very beautiful, such as "When praying, the best one of them, walks slowly under the light." "This encounter with the soul will be a worthy talk. A journey of memories.” Tanaka Kinyo's appearance is also very interesting.
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hours, my father ordered "Popular Movies" (Last year, all thieves entered the house and stole them). I remember that there was a short message to commemorate Tanaka Kindai Yunyun. At that time, I knew about her because of "Wang Xiang". Although the father in his thirties praised Kurihara Komaki very strongly, the cried and laughed face of Akiba, who was full of chicken skin, was more impressed than the young female reporter. Moreover, Kinyo was a beautiful female name, and fabric was used as a girl's name, which was an anomaly at the time. Her father's sister-in-law was named "Yunjin", but it was a pity that she died for many years. I have always stubbornly thought that a woman’s Lan Xinhui quality should also include a good name. The word "Jindai" has a kind of soft femininity, which seems to have a certain sense of being out of dust than the familiar "Yamaguchi Baihui" and "Nakano Ryoko" that were familiar to the Chinese people at that time.
Attached to the text message is a photo of Tanaka Kinyodai, which is not very beautiful. The introduction of her life mentioned "Nishizuru Generation Girl", a name that aroused the imagination of childhood. Crane is a fetish, decorated with a position, just like a peacock flying southeast, which makes business interesting. Xihe, is it a place name? Is it the family name? Or is it the nickname of this generation of women? And a generation girl is a person? Or a group of people? It's all a childhood mystery.
However, "Wang Xiang" was full of straightforward accusations of blood and tears, but it was a style I didn't like, and Tanaka Kenyo's excellent performance was not really able to comprehend at that time, so I slowly put aside.
It wasn't until nearly twenty years later that I met Mizoguchi Kenji's "Nishizuru Generation Girl".
A
movie starts, Kinuyo Tanaka played the heroine Chun back wearing kimono, in the dark of night Xuhang dark, walking in the decadent destroyed the fences, avoid the pushing and shoving Showmanship street prostitution.
This back figure is the "Xihe Generation Girl" I once thought about sitting on the bench. She is just an extremely unfortunate low-level woman! It has nothing to do with poems, nor does it have nothing to do with elegance.
For more than two hours of black and white light and shadow, Mizoguchi Kenji spread to the audience such a ruthless tragedy of life: Aharu was once a maid of the royal family, and was expelled from Kyoto because he fell in love with the inferior samurai Tonosuke. behead. Ah Chun was helpless to perform on the street, and was bought by a big name to be a concubine. After giving birth to the crown prince, because of the jealousy of his eldest wife, she falsely accused the fox to confuse the lord. In order to pay the debts owed by his father, Ah Chun became a senior geisha again. After coming out of the brothel, he worked as a helper in a business, but because he was a prostitute, he insulted the master, and the hostess would not tolerate it. Fortunately, he married a loyal young man who is a fan. Who knows that the good times are not long, and the husband is robbed and killed by the robbers. Ah Chun was so ashamed of thoughts that she wanted to sacrifice herself to Buddhism and take shelter in Ni'an. Because he owed money and property, he had to sell himself to pay, and was painfully expelled from Buddhism. While she was wandering outside the Ni'an, the servant who had always had a good impression of Achun stole the banknotes from the house and happened to find it. Achun who had nowhere to shelter had no choice but to run with him reluctantly. Soon after he was captured, Ah Chun wandered around the world, playing samādhi strings in front of the monastery and singing. One day, when he saw that the crown prince he gave birth to was a teenager, Ah Chun couldn't help feeling sad and fell to the ground in tears. She was taken in by several old and declining prostitutes living in the monastery, and persuaded Ah Chun to sell her life to spend her time. Ah Chun had to be Feng's wife again. Finally, when poverty and sickness became worse, Ah Chun's mother found her missing daughter and told Ah Chun that his name was dead, and that her son succeeded to the throne and wanted to support Ah Chun. Unexpectedly, after learning about Achun's various experiences, his son and his subordinates were deeply ashamed and ordered Achun to think behind closed doors, let alone talk about the relationship between mother and son! In his twilight years, Achun finally returned to emptiness, became a nun, and died by begging... The
film was adapted from Ihara Nishizuru 's "Laughter Generation Girl". The word Nishizuru originated from this world-weary writer of the Edo period. However, the unnamed heroine of the original film is naturally profligate, and she always repents of her life's lust, which is very different from the film. Under the camera of Kenji Mizoguchi, Achun has never given up her dignity. She has been in the hands of a man but pursued true love all her life. She is only unfortunately ravaged by fate and the times. At the end of the film, Ah Chun wandered around again in a nun, with a faint Sanskrit sound, and a solemn look. This is the peculiar feeling of "sorrow for things" of the Japanese. Beautiful and strong women abound in Mizoguchi films: the mother and sister in "Doctor Sansho", the hostess in "Kinmatsu Monogatari"...
The novel is actually very Japanese, and women who are addicted to eroticism are common in Japanese novels and movies. The attitude of Japanese culture towards women is quite contradictory. It is both sacred and humble: it is a mother who is hardworking and fearless and sacrifices, and it is also a devil who destroys the seductive and degenerate men. Even if it is the theme of "mother thing" that seems to eulogize the mother, it exhaustively describes the mother's misery and depravity. Although it has won a sorrow in the theater, it also hides the Japanese culture's worship of female power and even contains some kind of revenge. Mean artistic means. It is difficult for the Chinese to accept the unnamed heroine of Ihara Nishikaru, because we have always preferred prostitutes who are still well-behaved women, but not the sluts of ritualism. The exception is like a mysterious fish, which is just a little bit of mind left by the Tang Dynasty. Bar. And Mizoguchi's respect and love for women are probably half derived from his own experience and half from the changes of the times. When Mizoguchi was young, his family relied on his sister to sell as a geisha to support his family. He spent most of his life hanging out in Fengyuechang. He was very familiar and amiable. This scene was also staged among dramatists and female artists in the Yuan Dynasty.
Chinese legends, operas, and novels also like the themes of confidantes and fate, earning tears of ancient and modern times, but which work has such a miserable female fate? It seems that every encounter of Achun seems to have been familiar. The love tragedies of improper family and household are like Zhu Yingtai, the mother who gave birth to children through his belly is like a mother in Rou Shi's paintings, and the girl who has fallen into the dust is like an oiran. , Falling into the dust without losing the character, such as Cuixi, being abandoned by the flesh and blood is everywhere in Japanese film novels... The young and jade-looking Ah Chun has been rough and haggard along the way as a haggard and late prostitute, from the flowers to the blooming and growing step by step. To the lowest level of life.
A Chun’s encounter, or only a difference in poetry between Song and Song dynasties, can be compared, “It’s not love the wind and dust, it seems to be mistaken by the front line”, and the fate of being broadcasted in every way for no reason, but then “the flowers bloom from time to time, always the monarch of Lai Dong. Go also. If you have to go, how can you live! If the mountain flowers are full of flowers, the morale and decisive state in "Don't ask the slaves" seems to be not owned by Achun who has fallen into the abyss.
two
Such as "The Tale of Genji," such as "Pillow Grass", such as "Yinyi Prayer", Japanese art has the most delicate and subtle feeling, we have also had similar meticulousness, such as "Dream of Red Mansions", such as tempered operas, such as Ming and Qing residences . The same is true of "Nishizuru Generation Girl", and regardless of how Kenji Mizoguchi's famous panning shot creates the beauty of the slowly unfolding Japanese scroll painting, the details that touch the spring are impressive. In this film Just pick it up. It is like the beginning of Ah Chun's walk for more than a minute. The camera is very long. Although Ah Chun is wearing a headscarf and back, she is dressed in a vulgar costume, but her kimono, fine steps and slow and calm posture are combined with her. The surrounding environment still conveys layers of complex meanings: hunger and cold, expectation and disappointment, self-esteem and shyness, and the ancient feminine beauty in the gait is really fascinating. It is believed that Mizoguchi Kenji is regarded as Japan's "female film master".
This kind of calm and soothing expression of recent Chinese opera, a complete play, such as a stage performance, takes three or four hours, and it usually takes about two hours to make a drama film. Mizoguchi Kenji’s film length is also much closer. This time. The time is long and I don't notice it's tedious, precisely because of its beautiful and moving details. In the film, Ah Chun talks to the old Ni who takes her in and sits down on the porch. While talking, Lao Ni slowly inserted a reed into the thin-necked plain bottle. This detail is more like a monk than the number of chanting Buddhas with his palms together. For this reason, Tanaka Kendai’s forty-two-year-old girl and Mr. Mei Lanfang’s role as Du Liniang in her fifties have the same tunes and the same skills. It is the artistic beauty shaped by details and temperament, and has nothing to do with hue.
The old drama has faded away, and the taste of the audience has become increasingly impetuous. It was just after Tanaka walked for more than a minute, and my good friend had no temper after watching: "What are you walking around!" Especially some seemingly irrelevant details, when she endured half the blind girl in the movie. When the dumb and deep Samadhi Xian was singing, I finally asked me to change the disc. These old-fashioned stories, old-fashioned characters!
This blind girl is not so round and jade-run (unfortunately I don’t understand), just like Bai Jurong’s desolate Cantonese opera "The cool breeze has news, the autumn moon is boundless." territory. Tsui Hark's "Huang Feihong: A Man Should Be Self-improvement" also contains a blind old southern tone. It is also very long and full of troubled times. How can it be that it looks like an idle pen?
Third,
just like an old drama sung in the Chinese folk, Mizoguchi Kenji's ancient legend is full of Eastern style and secular sentiments: twists and turns, dramatic plots, and attention to the love, love, and joy of men and women. A Chun's life is like drifting flocks, like spinning bonnets, traveling without roots, it is suitable for the artists of the old age to chant and sing in the general public tea liao wine restaurants. Humane Ozu Yasujiro’s films have oriental charm, but Ozu’s Japanese ethical world is separated from ordinary Chinese by a layer, and Ozu’s taste is always light and elegant, and the Zen is the scholar-official. If Ozu is too fond of love, Mizoguchi happens to be the place of love, in my generation.
Mizoguchi's oriental sentiment is eclectic and charming, like a poem by a gifted scholar, and he refuses to hide any talent. As soon as the subtitles appeared, the fan-backed fan was written with clear ink and the title was completely different from the austerity of Ozu's linen-backed film. It was as ugly as me, and I had never seen it in a Chinese movie. Then the lighter ink and wash background, such as distant mountains, such as spring grass Bess, the list of cast and crew is introduced one by one in a sparse and patchy line, as if the Chinese people used to write in the beautiful lower case on the landscape paper, early completion Absolutely noisy.
Mizoguchi rarely learns fine art. I don't know why, but the pictures in the film are mostly ink paintings. It is the most beautiful black and white film I have ever seen. If Achun learns that Teng Zhijie was murdered and wanted to commit suicide for a while, she and her mother who was chasing after him ran swiftly in the bamboo forest. I used to watch black-and-white movies, and I always felt that black-and-white was too deadly, or both black and white became gray, and it was difficult to feel like a picture. This bamboo forest play is a overhead shot. If you look at it in a fixed frame, each frame is a picture of an ink bamboo character. The characters are so small that they are suppressed by the bamboo forest. This may be the charm of black and white light and shadow that only orientals can experience. The realm of unity. Cui Wei's "Little Soldier Zhang Ga" in the Chinese black and white films of the 1950s and 1960s also had such a magical touch. The gleaming Baiyangdian lake is a picture of the lake without any blankness. If you look at it continuously, sunlight gleams and runs among the bamboo forests, and sunlight rushes forward like a stream of water passing over the bamboo. Unlike the "Rashomon" shot this year, the famous daylight shot of the woods also reflects the beauty of flow, but the daylight shoots from the trees, constantly switching to bring a sense of mottled and blurred, but here is not With the switching of the continuous lens movement, the dense bamboo forest in front of the lens is very thick, and the reflected sunlight blurs the characters. The feeling of flowing clouds and flowing water is exactly in line with the urgent mood of Ah Chun to stop this life at this moment.
Mizoguchi’s ancient legendary Yunjing seems to always have the hazy smoke of smoke, and the “Yueyue Story” and “Doctor Sansho” which have a water crossing plot are naturally filled with water, but the “Nishike Generation Girl” who has nothing to do with the water "The same is true, the black and white contrast is very small, just like using a soft mirror. It was a faded old thread-bound book. The story was written on dark paper with the warmth of the years, as if it had eliminated the shock and sternness of the tragedy, but it exuded more distant sorrow. The same black and white two colors are very clear in Imamura Shohei. His "Japanese Insects" is too much like a cold documentary in terms of photography style. The distinction between classical and modern is like this-implicit and straightforward, euphemistic and frank.
Fourth,
"Nishizuru Generation Girl" is the third work of Tanaka Kinyo I have seen. The previous works were "Wang Xiang" and "Yuyue Story". Ignore it, and I really prefer her roles that represent Japanese femininity.
"A Daughter of the West Crane Generation" is the work of Tanaka Kandai's comeback. She was 42 years old at the time, well before her prime. Achun's role is played from a young girl from old age. Although Mizoguchi has paid great attention to the shooting angle and hides Tanaka's age, her aging double chin can still be seen with sharp eyes. But it might be better for Tanaka to perform the reservedness and goodness of a young girl. She even made out the voice of a young girl. The young and old Ah Chun are both in appearance and charm. Achun's beauty, humility, self-esteem, struggle, despair, and loneliness, such a complicated life situation, Tanaka Kindai perform one by one.
At this time, Tanaka was no longer attractive among Japanese actresses. At the same time, Hara Setsuko and Mugumi Chiyo were more attractive than her, and her stature was also petite, probably like Li Xiangjun's "Scented Fan Pendant". But the gentle and graceful femininity that Tanaka Kindai specializes in is the same. It is more prominent in the cooperation with Mizoguchi, or Mizoguchi has discovered this unique beauty. Achun has fallen into the dust and never loses the feminine charm of the good family, which can not be displayed by the slightly European Hara Setsuko and Gaofeng Hideko, the somewhat dusty Kyoko or the overly pure Kagawa Kyoko.
However, perhaps "Nishizuru Generation Girl" is not the work that best reflects Tanaka's acting skills. For example, Hong Kong’s Bao Baobao, the Wu Zetian she portrayed, is also an old girl who is also very good. With the help of costumes and makeup, this kind of role will somewhat cover up some acting skills. Kinyo Tanaka's more outstanding roles are the old lady who has fallen from a noblewoman to a lame blind in "Doctor Sansho", the widow with a complicated mood in "Sister Ayu", and the widow in "The Woman in Rumor" who is in abnormal love. Mother Nian, her eyes, facial expressions and body language can completely show the characters' struggling heart, and her superb performance should be one of the highest models in the history of film.
Kinyo Tanaka is a drama idiot, blind at his deathbed, and still ask if he can still act in a movie. With this idiot, he will become a famous generation in Japanese film history. Play hard. In the modern age where movies are becoming more and more niche, there is almost no future for such an actor!
In China in 1934, there was a movie like "Goddess" that explored the sex of prostitutes. Mizoguchi Kenji's "Naniwa Elegy" with a similar theme came out two years later. It’s a pity that our later films entered the world too deeply. The half-sorrowful Ruan Lingyu was replaced by waves of revolution, and they all became women with resolute expressions and chanting arms. The beauty of daughters is probably only in Xie Jin’s "Sisters on Stage". There is still a bit of amorous feelings at the beginning. In fact, the subject matter of this film is similar to that of Mizoguchi Kenji's "Gion Sisters"! Mizoguchi's oriental sentiment is eclectic and charming, like a poem by a gifted scholar, and he refuses to hide any talent. As soon as the subtitles appeared, the fan-backed fan was written with clear ink and the title was completely different from the austerity of Ozu's linen-backed film. It was as ugly as me, and I had never seen it in a Chinese movie. Then the lighter ink and wash background, such as distant mountains, such as spring grass Bess, the list of cast and crew is introduced one by one in a sparse and patchy line, as if the Chinese people used to write in the beautiful lower case on the landscape paper, early completion Absolutely noisy.
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