2. It is the best descendant of Hirokazu Eede, which is regarded as Ozu and Naruse's "Shochiku style" in a sense (although the Naruse sound film is basically not Shochiku...), Hirokazu Eeda is obviously more qualified than Yoji Yamada. . After all, it is Hirokazu Eeda who has "petty-bourgeois aesthetics" similar to that of Ozu, not the bottom class and common people of Yoji Yamada; and it has to be said that Hirokazu Eeda has a much finer work than Yoji Yamada (nonsense, Yamada Yoji’s filming speed... can It’s not bad to have a quarter attentive......). It is Hirokazu Ede who thinks he has learned Naruse, but Naruse's iconic "Naruse Touch" and entangled lamentation are not the main styles of Hirokazu Ede. Of course, from another level, it is Monk Edifice Hiroshi who has the stage of creation. As a masterpiece, [Non-stop] also obscures his own diversity in a sense. For example, [Nobody Knows] is obviously not Ozu but soon became Imamura Shohei, or It's Yang Dechang. You can refer to Hou Xiaoxian’s creations in the late 1980s. [恋恋风尘] is undoubtedly taken in Ozu, and [Childhood Past] can basically be determined to have been heavily influenced by Ozu (but all this happened after he met Zhu Tianwen ), Hou Xiaoxian was even invited to shoot the 100th anniversary of Ozu’s birth [Coffee Time], but Hou Xiaoxian undoubtedly does not approve of Ozu’s "petty-bourgeois aesthetics". Ozu-style things are still from Zhu Tianwen.
3. In [Miracle], Ozu-style brushstrokes can be seen everywhere. The most direct is undoubtedly the bar of Yui Xiachuan, named Luna-fans of Ozu know that nine of the ten bars in Ozu are called this name. The cake made by Hashizhao Gong (especially the three discussions about the taste), the beautiful female teacher of YY, the promise of butterfly swimming between brothers, measuring the wind direction with wet fingers, volcanic ash, broad bean rice, etc., the details are basically in accordance with Ozu's The way is processing. On the other side of Odagiri, the handling of the relationship between father and son is reminiscent of some of Ozu's early works. There is also a night talk between the two brothers in Kumamoto Prefecture, the kind of 180-degree space-need to talk more. The details in Ozu's film are particularly skillful, but in [Miracle], these details are branched out, and it seems to be a bit streamlined.
4. The Maeda brothers must have a bright future. The elder brother Maeda Hangji’s drama is heavier, he looks cute, and his acting skills are better. He handles very complicated emotions very sophisticatedly. The younger brother has more silly and joyful situations, and the emotions of the drama are relatively single. This is how the play is, the rest is bound to be flat, not so much space).
5. As a propositional composition, it is actually not qualified to be done by Hirokazu Edema. To say how to qualify, it must be a railroad fan (a lot of people like this in Japan...), to meet the requirement of "shooting trains as much as possible" with a method similar to road movies. In this regard, Ang Lee is definitely the number one master. However, the awesomeness of Hirokazu Kee is that he can take a thrilling photo of the minute the Shinkansen train appeared, making people cry, and I succeeded in making me cry by him. So it is logical to think that the first one hundred and ten minutes are necessary for the preparation-of course not dear, it is safe to cut 20 minutes, but the editing of that scene is really skillful, and it depends on the still life and the face. The close-up can burst with such emotional intensity, it is a pity that Hirokazu Kee does not shoot Xiaoqing.
But having said that, it is Hirokazu Edema whose strength lies in the control of the rhythm, which has always been the case.
6. After watching the whole film, I think the best thing about writing is that these children can switch between fantasy and reality at the same time, and they can smoothly accept all the misery of this world. The same story outline is handed over to Hollywood, and the best shot is only [Little Sunshine Beauty]. In fact, this story had the posture of [two little Lots], but the most moving part was that nothing happened.
Needless to say, this world is like this. What needs to be healed is the aftermath of the earthquake and tsunami. Face it calmly and grow with them.
7. In the supporting role, Nagasawa Masami still has big legs, even though I don't quite approve of her as Asakura Minami (but she is still acceptable compared to the level of Kazura's collapse). Tree Shilin is still a poisonous old lady. Uncle Kuan’s soy sauce is really getting better and better. The most embarrassing thing is that Grandpa Harada Yoshio passed away shortly after filming the film. Thinking of [Non-stop], I still feel sad. I think if a few years later, if I write a master research article by Hirokazu Edema, Yoshio Harada will still remember it.
View more about I Wish reviews
