I never thought that Murakami's work could be adapted into a movie. If the eccentric imagination and introverted hidden temperament can be expressed by the unrestrained plot and the calm and calm picture, that kind of self-consciousness How can a self-talking, broken-hearted confession exude its appeal; thus, "Tony Waterfall" seems to me to be a somewhat dull and elegant narrative poem, the picture is so steady and light that it is easy to make people sleepy, and it runs through the film. The narration of the film is like a clockwork bird that keeps ringing in my ears - from this point of view, the film is very close to the original.
I have been thinking about why the director chose such a work as Murakami for filming. Whether it is the fresh style of his early works, the bizarre fantasy of the mid-term creative boom, or the return to simplicity at the end, there are more choices. If the story is brought to the screen, then whether it is the storyline or the level of color, or just the desire to get an exit from the labyrinth, it will be more exciting than "Tony Waterfall", and for non-Murakami fans For example, watching such a film may be unbearable for the slow-flowing rhythm, and Ryuichi Sakamoto's calm soundtrack is a straightforward and unmistakable metaphor that this is not going to happen from start to finish. A film with a climax, all it seeks is to stealthily capture your heart and feelings in the midst of ordinary narratives and everyday sights.
Then I suddenly understood, even if it is such a short story drowned in his countless works, it is a collection of all his joyful elements when disassembled, and the main tone of the story is the trivialities that he cannot escape, including The trivialness of his words, the trivialness of jumping and telling stories, and the trivialness of describing the details of life in detail - there is a scene at the end of the film, Tony Tatsuya is sitting alone in the kitchen, serving vegetable salad in a large glass basin Sprinkle the seasoning on it, and then chew it bit by bit, I think this scene touched me at once and made me feel the deep loneliness in my heart. He tried to destroy the senses and evidence that he could control, but in the end he failed. It can only be tasted forever and truly, as in the emptiness of the closet and the empty room where an old record is no longer left.
lonely man
Such protagonists have always been Murakami's favorite. They live recklessly in the world but are incompatible with most authentic people. They are full of loneliness but can attract all kinds of women.
In Murakami's book, such a man is completely a creature that does not survive on earth. In the words of an unknown supporting character in "Dai Wu Wu", it is:
"You, go back to the moon."
Tony Water Valley is not as good as The other characters in his books are as maverick as they are, but the fact that the precise grasp of the shape of things is far more than the sensory experience, there is no doubt that the factor of "loneliness" is fully equipped. Such a man will be amazing even with a smile, but he doesn't need to be good-looking, just the kind of loneliness and low-key that reveals in his bones.
Ogata's performance is quiet and simple. Many times he feels that as long as he stands there and stares directly, his eyes will show the breath of rejection of others, and when it comes to the appearance, the description in the original work is "a slightly angular face, plus The upper hair is curled up, and he was often regarded as a half-breed when he was a child." In the beginning, I can feel his difference, but in the second half of the film, the gradually shortened boy's head unexpectedly overlapped with Murakami himself. When I got up and thought about it carefully, Murakami's famous saying "cultural snow sweeper" is really similar to this man who kept drawing mechanical drawings to some extent. He doesn't pursue any personal passion and emotion for creation. It is purely a trajectory of precise rotation of the part.
Beautiful but always flawed women
This is also one of Murakami’s favorite elements, such as the ear model Xixi who lacks a pinky finger, the bright and refined but often crying involuntarily, and the dark-skinned passionate girl Kasahara May, these women Whether it is the main character who guides the development of the story or the supporting role who contributes to the plot, it adds a lot of interesting atmosphere.
Murakami's description of women's beauty is often not based on the exquisiteness of the face and facial features, but more on the good figure. Often, ordinary-looking women will arouse the protagonist's love at first sight because of "perfect and beautiful legs". I found that Miyazawa Riho's thin body is really suitable for acting as a woman who has a crazy desire to buy clothes in the play. The neat suit that changes every time she appears, Cheng Liang's boots and carefully matched decorations are all perfectly presented in the novel. Said "clothes also seem to be given new life by wrapping around her".
I feel like Miyazawa has a kind of silent temperament, with delicate eyebrows and eyes, and well-mannered speech and manners, but this seems to be a very plain woman mixed with paranoia and crazy desires in the play, which is very strange. There's a silent stubbornness; a quiet acquiescence to Tony Watertani's proposal, an explanation for the importance of clothing in her shell-like life, and the fact that it is, the reason for the end of time arises here.
Jazz can
only be known from the large number of band names and albums in the book to know how much Murakami loves it, and the protagonist in "South of the Border, West of the Sun" simply has a sideline in Murakami's real life - opening jazz. bar.
In this film, Tony Watertani's father is a jazz musician. He left Japan when he was young and went to Shanghai to start his life. After returning to China to get married, he didn't even choose the child's name and obeyed an American colonel. He had never existed like a father in Tony Watertani's memory and life, and Tony himself didn't know what it was like to be a son.
The father and son have never understood each other, or whether Tony took his wife to listen to his father's jazz performance, they are still confused, and maybe even a slight feeling is just a collection of misunderstandings.
I have always felt that the laziness of jazz is a very personal enjoyment process. Whether it is for the person who plays or the person who appreciates it, there is no connection between the two. There is no need to welcome or echo from both sides, as long as the individual is satisfied separately. That's it, totally personal.
In the end, the woman who was hired by Tony, with a body similar to his wife, carefully shuttled through the huge storage closet, trying on those elegant suits and gorgeous pointed leather shoes one by one, and finally fell to her knees. Cry out loud.
She couldn't understand that so many clothes that she had never seen in her life were neatly placed within reach but belonged to others, just as Tony couldn't understand his wife's crazy desires, his father's passionate hobbies, he tried to understand To escape from loneliness, but in the end it is nothing but loneliness.
Maybe people can't understand each other in the first place, and no matter how close the connection is, the ultimate direction of life is just downright loneliness?
In the original book, there is no mention of Tony calling the hired woman, nor about his attempt to get out of the predicament again, but in the movie Tony picks up the phone, dials the number, and the bell echoes empty in the In the silence of no one answering.
From this point of view, it is almost impossible to kill.
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