In contrast, "Relenting" (Zhang Ailing's code, what is left is love, but it is not necessary to keep it): the father died, and his mistress's daughter (I don't know if she was born) complained that she couldn't coax him to buy a small shop for herself before he died . Then go out on a date with an American boyfriend (I don't know who is the first). Yet even such a girl still walked to the body, folded her hands and prayed.
Later, the father's children came and cried in pain. You are reminded of the grief and joy she felt when her father fell ill and recovered.
So, did the previous mediocre prayers make you feel the kindness of human nature, or did you feel merciless?
The conversation between the two who temporarily intervened by the river was also the same. When a person dies, the world reacts.
Aesthetics: Ozu's lenses are capable of sculpting a thing, a simple but beautiful thing that is repeated in different situations (even as if the exact same thing is used on both sides), bringing about very different emotions. Like the lights in this one. This is also his aesthetic value. ("Floating Grass" is the flower in front of the tavern.)
Marriage and love: In the original film of Hara, all the characters are afraid to get married (whether it is a single widow in "Tokyo Story", "Late Spring" hoping to hide under his father, Shima Iwashita in "The Taste of Saury"), a woman who lacks courage for the future. But this time, she finally refused to get married, which just reflected her maturity in facing life.
The girl Si Yezi, who was forced to marry, finally chose her out-of-town husband (In "Mai Qiu", Hara Setsuko also chose the widower).
Death: The treatment in this film is exactly the same as that of "Tokyo Story", with two illnesses and a second death.
Another old father, Nakamura Yanjiro, who has an extramarital affair (Ozu should be reluctant to directly shoot the extramarital affairs when he was young, but chooses when old age is comedic). And "Floating Grass".
Humor: This time there is still a part, except for the role of the old father and all kinds of disputes over extramarital affairs. And the words of the man who wanted to marry: Did you know that once a man falls in love, it is a serious matter?
Narrative Art: I think the story this time is excellent. Ozu's narrative regeneration in the past also has a main line, which expresses the feelings belonging to other characters (such as the war feelings of the old father in ""). But this time only the marriage and love of the two sisters and the father's extramarital affair are intertwined. The second half of the story is connected to the father's health, which is getting worse and worse. There are no specific clues, but the story is coherent and smooth.
War: Not this one.
Lost patriarchy (to be more serious, Taoism, or old times): This is the main contradiction in every film of Ozu, and it can be said to be the background of every film. This part is mainly manifested in the unsustainability of small shops and the renewal of Japan's capitalist production model. Daughter's mockery of father.
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